El Djembé Es Un Instrumento de Percusión Africano

El djemb es un instrumento de percusin africano, muy popular en pases como Senegal, Costa de Marfil, Guinea, Mal o Burkina.
Aunque hoy en da se producen de todos los tamaos, el djemb ideal es grande y alto. Hay dos formas de tocarlo: o colgado del cuello con unas cinchas, o colocndolo entre las piernas, con la base inclinada hacia atrs y el parche, por tanto, inclinado hacia delante. En ocasiones, el msico tumba dos djembs de tamaos diferentes, formando una especie de bongs, y los toca sentado encima de la madera. En Europa, ha entrado sobre todo en Francia. Lo oiris fcilmente por las calles de Montmartre, la escalera del Sacr-Cur o la parte baja de las mrgenes del Sena, ms all del Institut du Monde
En el djemb hay tres sonidos bsicos, que se consiguen golpeando de tres formas. 1. SONIDO ABIERTO (DI KI) Es el sonido natural del djemb. Hay que juntar los dedos de la mano, con el pulgar ligeramente apartado; los dedos deben estar estirados, pero no en tensin. Se golpea con las tres falanges; la lnea que separa la primera falange de la palma coincide con el margen del djemb. Es una nota abierta: inmediatamente despus de dar el golpe, se levanta la mano para que siga resonando. 2. SONIDO GRAVE (DUM KUM) Se golpea con toda la mano en el centro del djemb. Hay dos formas de hacerlo, segn el intrprete. En la primera, la mano debe estar plana, el pulgar plano y abierto, y se golpea con toda la palma y los dedos. En la segunda, la mano no debe estar plana, sino que debe curvarse ligeramente, como formando un pequeo cuenco. Despus de dar el golpe, se levanta inmediatamente la mano. 3. SONIDO MUTEADO (DA KA) Este es, sin duda, el sonido ms difcil de los tres. Se trata de conseguir un sonido parecido al abierto, pero una octava ms abajo. La posicin del golpe es muy similar a la del sonido abierto: la lnea que separa la palma de los dedos coincide con el margen del tambor. Pero los dedos se curvan, de forma que se pueda tocar solo con las yemas, y adems se organizan como en el primer momento de ir a coger agua: con una inclinacin a la derecha (el que sea diestro, claro). Deberis ejercitar muchas horas estos sonidos, sobre todo el muteado. Aunque en la percusin hay un componente instintitivo, si no aprendis a distinguir ntidamente los golpes bsicos os perderis buena parte de la variedad real de la msica africana, que tiene mucho de arte, o sea: de tcnica.
Clave: D-: mano derecha K-: mano izquierda -UUM: negra de sonido grave -UM: corchea de sonido grave -AA: negra de sonido muteado -A: corchea de sonido muteado Ejemplos: DUUM: sonido grave, negra, mano derecha KUM: sonido grave, corchea, mano izquierda DA: sonido muteado, corchea, mano derecha KII: sonido abierto, negra, mano izquierda Ejercicios:
1. DUUM KUUM DUUM KUUM | DAA KAA DAA KAA | DII KII DII KII 2. DUUM DAA KAA | DUUM DAA KAA 3. DUUM DII KII | DUUM DII KII 4a. DUUM DA KA DI KI | DUUM DA KA DI KI 4b. DUM KI DI KUM DI KI | DUM KI DI KUM DI KI 4c. DUUM DA KA DI KI DUUM DA KA DI KI (x3) | DUM KI DI KUM DI KI 4d. DUM KUM DUM KUM DI KI | DUM KUM DUM KUM DI KI 4e. DUUM DA KA DI KI DUUM DA KA DI KI (x3) | DUM KI DI KUM DI KI | DUUM DA KA DI KI DUUM DA KA DI KI (x3) || DUM KUM DUM KUM DI KI 5a. DUUM DI KI DI
-II: negra de sonido abierto -I: corchea de sonido abierto 00: silencio de negra 0: silencio de corchea (x3): repetir 3 veces desde la ltima barra
5b. DUUM DI KI DI DA KA 0 5c. DUUM DI KI DI DA KA 0 DA KA DI DA KA DUM | DUUM DI KI DI DA KA 0 DA KA DI DA KA DUM
Some rhythms played on the doumbek and in the music of the mediterranean Nomenclature: ... What the heck is "Dtk"? Couting time Time signatures: ... When does the next note sound"1e+a2e+a" Breaking it down: ... How do I learn all this? Drum songs, playing with people and making it enjoyable: ... How could I make a song Each drum has its own voice, here are some of the drums that live with me.
2/4
Ayyub
1e+a2e+a D tkd t D kkd G 1e+a2e+a D kkT D 1e+a2e+a DgkgDkgk
2/4 2/4 2/4 2/4
Karatchi Falahi
1e+a2e+a Tayir (Naqrah) D S Bayou 1e+a2e+a D DD T D kDD S 1e+a2e+a D t t moderate to slow Rapid DkkSkkSk D tk kt Try this one! delicate - spacey
2/4
Malfuf
2/4 2/4
Saudi
1e+a2e+a DkkDkkSk Wahida is a family of rhythms with one Doum at the beginning
1e+a2e+a Wahida Sayrah D t t
2/4
Serto
1,e,+,a,2,e,+,a, 1231231212312312 <-- Cheat and count like this! D kD ktkD kT ktk Similar to Malfuf, but with a different feel
123123123123 3/4 WhirlingDervish D d D d D tk kDtktk 1e+a2e+a3e+a4e+a 4/4 Inverted Beledi D tkD D tkt tktk 4/4 1e+a2e+a3e+a4e+a Gawazi Dk kD t (Egyptian) Moderate speed "Heavy" slow to moderate contrasted with faster maqsum
1e+a2e+a3e+a4e+a 4/4 Pakistani Sufi D D D D tkt tk 4/4 Beledi 1e+a2e+a3e+a4e+a D D tkt D tkt tk
4/4 4/4 4/4 4/4
1234 ChaChaCha Zaffah Bolero Maqsum
Sdd
just for fun! wedding processional
1e+a2e+a3e+a4e+a D tkt t D t D 1e+a2e+a3e+a4e+a D kkt kktktkD t 1e+a2e+a3e+a4e+a D T kkt D kkt kk D D kkS D kkS
rumba
1e+a2e+a3e+a4e+a 4/4 Walking Maqsum D t k t D k t tk 4/4 4/4 4/4 Nawari Saidi Serto 1e+a2e+a3e+a4e+a S D kkS D kkS 1e+a2e+a3e+a4e+a D tk kD D tkt 1e+a2e+a3e+a4e+a D kD ktkD kT ktk 1+2+3+4+1+2+3+4+1+2+3+4+1+2+3+4+ D D t k k D t t k t k D D r k k D tktkk t k 1+2+3+4+5+1+2+3+4+5+ D tk k Dt T tk kD t (corrected) Dur +
4/4 sword dance 4 5/4 4/4 Farsee 5
1e+a2e+a3e+a4e+a Wahidah 4 D tk kt tk kt k 1+2+3+4+5+ D kt kttD
5/4 Slow Five
1+2+3+4+5+ 5/4 Turkish five Dktkt 1+2+3+4+5+6+ Samai Darij D TkT D T DTTDT D r T DkT 1e+a2e+a3e+a4e+a5e+a6e+a D tk tk Dk tk 123456123456123456123456 6/8 Morracan sufi D k k D k D k k Dk k DkGkGk . these played in parts DkkGkk . DkGkGk . DGkGkk . DkkGkD . 1e+a2e+a3e+a4e+a5e+a6e+a D tktkt tktkD tkt tkD t Dur D kkD kkDkkkD kkD kkD D Daveed
6/8
6/4
Chaka
7/8 7/8 7/8 8/4 8/4 8/8
1+2+3+4+5+6+7+ Dawr Hindi D TkT D tkT tk Sheelto Laaz 1+2+3+4+5+6+7+ D tktkD tkt tk 1+2+3+4+5+6+7+ D tk kD tkt t (corrected)
1e+a2e+a3e+a4e+a5e+a6e+a7e+a8e+a Masmudi D D tktkt D tktkt tktkt tk "warring" 1e+a2e+a3e+a4e+a5e+a6e+a7e+a8e+a Chifteteli D tkt t tkdt tkD D t 1+2+3+4+5+6+7+8+ African Dance kDDkkD k DDkk D
9/8
1e+a2e+a3e+a4e+a5e+a6e+a7 8 9e+a Kashlimah D t k t t k D t t t fast D t D t t t Zabec 1+2+3+4+5+6+7+8+9+ D ttD t D ttD t t Ayube varient 1e+a2e+a3e+a4e+a5e+a6e+a7e+a8e+a9e+a D d tkt d tkt D D tkt D tkt t Maqsum varient
9/8
10/4 13/4 14/4
Samai Muraba
1e+a2e+a3e+a4e+a5e+a6e+a7e+a8e+a9e+aAe+a D tktkt tktkt tkt t D D t t tktk t t 1e+a2e+a3e+a4e+a5e+a6e+a7e+a8e+a9e+aAe+aBe+aCe+aDe+a D T tkt k D tkt k t k t k T tkt k T tkt k D tkt k
Muhajjar 1e+a2e+a3e+a4e+a5e+a6e+a7e+a8e+a9e+aAe+aBe+aCe+aDe+aEe+a D tkD tkD tkt k T tkt k D tkt k T tkt k T tkt k T tkT tk 123456789ABCDEF 123123123123123 fifteen D K T kttD T <-- count 5 bars of three
15/4
15/4
123456789ABCDEF 123123123123123 Daveed 15 DkkTkkTkkDkTkTk
Q: What's in a name? ( A note on naming conventions )

I use names for these rhythms which tend to be accepted among the community of drummers that I have known and the sparse documentation that exists on this (extremely folk) tradition. I have tried to note variations of name. Also note that many of the names are transliterated from some language that doesn't use roman letters so spelling may vary. Please let me know if you know of other names or local traditions.
For Arabic names I've tried to use a consistent transliteration that uses capital consonants for emphatic sounds and double vowels for long vowels. If you are aware of misspellings of the Arabic, please do let me know. For Greek and Balkan names I've tried to use commonly accepted transliterations and spellings. In many cases the names that are used in practice are inconsistent. Folk musicians in many of the cultures of these areas often do not even name rhythms -- they simply know what rhythm goes with what song and play it.
Q: What's the deal with 4/4, 6/8? ( Time Signatures, Music Theory )
For a modern western percussionist (or musician considering rhythm) the most important thing is how many beats there are to a measure. That is: modern musicians break music down into repeating segments of the same length called "measures". The measures are then broken down into a fixed number of possible divisions. When you see that some song is in "6/8" -- that means that it is divided into measures that contain six "eighth" notes. The whole modern world doesn't use this method (Balkan folk musicians, for instance, have a pulse-length based system) and it was certainly not used when much Middle Eastern music was formulated (more on this subject below). I've tried to use time notations that would be familiar to western musicians with some notation to show variations such as shortened segments.
Q: What is this "D t k" stuff? ( Notation )

If you read music you may want to check out another version of this page that uses western musical notation. I assume you know how to hit the drum -- if not I will have a section on that when I get time -- I do suggest, however, that if you are interested in playing in the traditional style you find a teacher or a good player and get them to give you a first lesson. This will hopefully save you from developing bad habits early.
In "traditional" Arabic Tabla/Darabuka, TEK and KA may be played with either hand and represent different sounds: TEK indicates either the accented strike or possibly the resonant (as opposed to damped) high-pitched sound -- depending on your methodology. However many people find it easier to learn (and teach) by using the traditional names to indicate the preferred hand to strike with. Note that it almost doesn't matter which hand you strike with as long as you are making the right sound -- however by putting the accents on the dominant hand and following the notation for suggested hands you will probably wind up with a more "traditional sound" to your playing. There are many forms of rhythm notation -- the most popular is standard western musical notation. I find that difficult to read, so I use a sort of "timeline" form that shows where the strikes occur during the measure. It uses a fixed-width font so that each character is a fixed amount of time (a 1/16 note for most of the rhythms shown below.) Text Key:
D Dum (right hand clear low tone) T Tek (right hand high crisp tone) K Ka (left hand, sounds like Tek) - space after note (sustain) _ space during a rest . shortened space P Pop (Ka while deadening head w/ other hand cupped) S Slap (loud or accented right hand, non-clear tone) G Grab (or Stop, like Grab) m Alternate "Dum" (left hand low tone, often muffled) r finger roll 3 triplet : inter-segment break | inter-measure break Note: Accented (fundamental) strikes are indicated with an UPPERCASE letter.
Most of the rhythms shown below are shown in simple (non-filled) form and then various ways to fill the rhythm are shown. Use a fixed width font to view the rhythms if you cut and paste them into another document. Also if you have messed up your browser preferences so that it somehow uses a non-fixed width font for the rhythms on this page, they are going to look messed up.
Q: What difference does a "rest" make anyway?

To a drummer, I guess the answer could be "not much".
A "rest" in music is a space for a note that is not played. On many other instruments a note can be sustained, and there is a significant difference in playing "a note, a rest, and another note" and "a long note and then another note". On a drum you don't have much choice about how long the sustain on your "note" is, but the combinations of rests versus sustained notes may give some indications about how the rhythm should be ornamented or filled. Therefore there are a few rhythms that seem very different to melodists but somewhat the same for the drummer.
Q: Where did all of this tradition come from? ( A Grossly Over-simplified

Bit of Percussion History )
(If you would like a deeper look into this: stay tuned -- I'm trying to get time to write a better essay -- or start by reading any Arabic music book by Henry George Farmer. And don't say I didn't warn you -- he's hard to read -- not because he is a bad writer, but because his books are academic and full of facts and rather complex arguments attempting to reconstruct a lot of Arabic musical history and theory.)
The earliest recorded history of music and rhythm we get from ancient Greece. Greek writers on the subject were fairly technical, but it seems that not much about rhythmic
structure was formalized. We do know that they tended to use a system that had two values for time (long and short) where the "long" was from one and a half to two times longer than the short. Musical phrases were built of patterns of long and short -sometimes these patterns repeated. We only know as much as we do about early Greek music because Middle Eastern (arabic speaking) scholars studied and preserved (translated) early Greek writings. The Arabic music/rhythm tradition begins in the caravan song -- the vocal music of the nomad. Often a simple percussion instrument (for instance a stick) was used to beat out accents. As the nomadic life was exchanged for urban life new instruments were developed, poetic form matured and scholars studied earlier Greek works, a rhythmic method developed with a basis in long and short syllables(durations) and accent patterns based on poetic meter. As poems tended to repeat the notion of a larger repeating rhythmic cycle emerged. As the Arabic speaking empire expanded, matured and moved through the greater Middle East and through North Africa into modern Spain and Portugal, it brought an academic attitude toward music. Local traditions were integrated and new forms and instruments developed. The music traditions of North Africa are still today heavily influenced by Arabic empire roots rather than by the rest of mainland Africa. That is the music is primarily monotonal and of simple rhythm. Polyrhythm and harmony are almost non-existent in Middle Eastern music. That does not mean by any measure that the music is simple. The "interesting" and unique aspects of each performance come from the "ornamentation" of the tune by each instrument rather than from the "merging" of various tones and times that is formed by harmony and polyrhythm. The Arabic (and Mediterranean) music tradition tends to be based on the soloist or small ensemble -- a natural outgrowth of folk groups and a nomadic bard tradition. An interesting side note: Islamic tradition holds the musical arts in an odd dichotomy. Many Islamic fundamentalists have held that music for pleasure (rather than to worship or to declare the glory of Allah) is a sinful distraction -- however throughout history Islamic rulers (and no doubt the general populace) tended to patronize the musical arts. Khalifates with courts in the Maghreb developed forms of stylized concerts that formalized many new musical as well as rhythmic structures including a complex style of concert called the "nuba". This presence in Europe, along with the cultural interaction during the crusades, was responsible for many Middle Eastern instruments and musical forms finding their way into Europe. For instance I've heard people argue that the frame drum (extremely popular in North Africa throughout history) found it's way into Ireland as the bodhran this way -- this is probably apocryphal I'm not aware of anything but speculation to support the theory. There are numerous problems for modern students attempting to study early Middle Eastern music: Arabic writers tend to describe such things and music and dance rather poetically (in terms of impressions and feelings and effect on audience) rather than give much technical detail of form or technique. Apparently there was no standardized musical notation -- though Middle Eastern scholars were impressed by western notational methods (probably "discovered" by the Middle East around the time of the crusades), these methods did not lend themselves well to representing the more varied (in terms of tone and rhythm) music of the Middle East. Studying rhythmic modes is even more difficult -- very little rhythmic notation exists, even for songs that are otherwise quite well documented. Apparently either (as in many oral traditions) the rhythmic modes were so well known scholars did not bother to document them or they could find no good method for doing so. Attempts were made by a number of Middle Eastern scholars to document their highly oral musical traditions; unfortunately most of these documents are not available today -although there are many references to them in historical works. The Mongul invasions of the 'Abbasid empire and sacking of such academic centers as Baghdad in 1258 destroyed most of the relevant academic documents (not to mention the scholars!) Safial-Din, the author of two of the oldest surviving technical texts on music was one of the few who barely escaped the purge and wound up working in the Mongul court.
Additionally there is a long standing division between folk and academic (classical) music in Arabic tradition -- I think most scholars found it beneath them to study (or at least write about) folk music. As the Turkish/Ottoman empire rose out of the remains of the Arabic Khalifates they adopted the court music forms of the Arabs and also further developed the "marching military band" that the Arabs had found useful in intimidating their enemies. These were loud affairs consisting of many percussion instruments, horns, and loud reeds. In this context loud outdoor instruments and music were developed, while the complex court musical scene fostered more complex musical and rhythmic forms. Modern Middle Eastern music is mishmash of local folk traditions, the remains of ancient classical forms, and aspects of western popular and sometimes classical music. As the Ottoman empire's influence gave way to western influence during the first part of the 20th century, Egyptian composers developed a lot of music that is a fusion of western classical form with middle eastern music. This movement was responsible for bringing orchestra style ensembles and harmonic music to the middle eastern mix. In terms of rhythmic elements it seems that a lot of diversity has been lost, odd or complex rhythmic forms have been discarded or lost, in favor of more westernized, even-counted measures. Modern (traditional) Persian music, for instance rarely has rhythms that are not cycles of 2, 4, or 6 beats while historical records seem to indicate that much longer cycles were common in the past. Recently, during the rise of the oil economies (late 20th century), cheap labor brought from Africa has brought a bit of central African polyrhythmic tradition to the Middle East -- especially to areas in the Persian Gulf. See below for more technical analysis of historical sources.
Q: So I want to learn some rhythms. Where do we start?

Let's start with a rhythm called "maqsuum". This rhythm is common and widespread -- you will find it in music throughout the Middle East and Mediterranean.
The simple Maqsum is the basis of many rhythms and is especially important in modern and folk Egyptian rhythm. If you listen to Middle Eastern percussion accompanying music you will often hear the distinctive [DT-TD-T-] of the Maqsum. I've heard Hossam Ramzy exaggerate that maqsum is the basis of all Egyptian rhythm. The simple maqsum and all the ways in which it can be embellished really demonstrates the Middle Eastern percussion tradition. The Middle Eastern percussion instruments are responsible for laying out the meter of a song but there is also room for plenty of expression by each individual instrument. In parts of the Mahgreb (e.g. Tunisia) this family of rhythms may be called "Duyek". maqsuum 4/4
1-+-2-+-3-+-4-+-| D-T-__T-D-__T-__| [MIDI]basic form D-T-kkT-D-kkT-kk| [MIDI]filled D-S-tkS-D-tkS-tk| [MIDI]accented "baladii", which is a more folksy version of the basic Middle Eastern "maqsuum", is characterized by the familiar two DUMs that lead the phrase. It is probably more properly called "maSmuudii saghiir" ("small maSmuudii") since it has the "maSmuudii" accent and phrase but is played in 4 beats rather than 8. Some say that to play it with the traditional "feel" the accents (after the first) should lag slightly. The rhythm is generally known as "baladii" (beledi, baladi, balady) among the American belly dance community. The word "baladii" means "of the country" or "old fashion" and, I've heard, implies (in Egypt) a bit of a "hick-ness" or folk-ness. This rhythm is very typical (to the point of overuse) for modern belly dance, but the double-DUMs tend to drown out melodic accompaniment -therefore when playing with a subtle melodic instrument that cannot easily be heard, a simpler version of "maqsuum" is usually preferred. "baladii" is usually played more slowly that a 4/4 "maqsuum".
baladii 4/4
1-+-2-+-3-+-4-+-| D-D-__T-D-__T-__| [MIDI]basic form D-D-tkT-D-tkT-tk| [MIDI]filled D-D-t-S-D-t-S-tk| [MIDI]"Egyptian Classical"
An evenly filled version of a rhythm (such as the last baladii variation above) is often called a "walking" rhythm due to its even stride.
"walking" maqsuum 4/4

1-+-2-+-3-+-4-+-| D-T-k-T-D-k-T---| [MIDI] D-T-k-T-D-k-T-tk| [MIDI]with the bridge
The couple of beats you are finding near the end of some of these variations are known as a "bridge" or "chain" -- they are not basic to the rhythm, but are often played as a pick up into the next measure.
"sayyidii" (saidii, saiidii) is another rhythm of the maqsuum family. A sayyidii is made by doubling the middle DUM. It has a different flavor of fill and accent, is popular in upper Egypt (remember "upper" Egypt is in the south). It is similar to baladii, usually played fast, upbeat and powerfully. It is traditionally used for the Tahtib (a man's ritual "stick dance") as well as belly dance (especially the cane dance -- which is partially a parody of the man's version). I've also heard this rhythm called "Ghawazee" since these dance forms, and a particular style of belly dance using this form of rhythm, are popular among the Egyptian Ghawazee. This form may also be called "baladii maqluub".
sayyidii 4/4
1-+-2-+-3-+-4-+-| D-T-__D-D-__T-__| [MIDI] D-T-tkD-D-tkT-tk| [MIDI] D-tk-kD-D-tkT-tk| [MIDI]syncopated at the beginning DkS-kkDDD-tkS-tk| [MIDI]syncopated with 3 DUMs Yet another variation of a maqsum with different accent, Sombati is used during taaqasiim or for vocal accompaniment.
sombati 4/4
1-+-2-+-3-+-4-+-| D-__T-T-D-__T-__| [MIDI] D-_kTkT-D-kkT-tk| [MIDI] I've heard some Egyptians refer to the simple maqsuum as "waaHida wa niSf". Or possibly "waaHida wa noSS" (half wahida) -possibly because it (at least theoretically) derives from the simple form of of the first half of "waaHida".
"waaHid" means "one" in Arabic. These rhythms are so called because they have a single accent (DUM) at the beginning. A particular, "waaHida sayyAra" is also called "Libi" by Egyptians due to its apparent modern popularity in Libya. "waaHida" is often used during the vocal/legatto parts of songs -- the single accent makes it easy for the drum to follow the long, sometimes stretched syllables of this part of the song where the vocallist or instrumental soloist is improvising. The rhythm part accents the cycle/measure boundary and follows the melody as the measure is stretched or shortened. The "waaHida", since it is primarily just an initial accent with varying fill, can be used to make transitions between rhythms of various counts and fills (i.e. can be used as a "break"). waaHida 4/4
1-+-2-+-3-+-4-+-| D---____D---m---| [MIDI]sayyaara (slow) D---____T---k---| [MIDI] D---__T-____T---| [MIDI]saghiira D-tktkT-tktkT-k-| [MIDI]"tawil" D-Tk-kT-Tk-kT-k-| [MIDI]khafiif (fast)
"bambii" is a modern rhythm similar to a waaHida that has a 3 DUM sequence either by finishing waaHida with 2 DUMs or rotating it so that the 3 are at the beginning. bambii 4/4
1-+-2-+-3-+-4-+-| D-Tk-kT-Tk-kD-D-| [MIDI] D-D-D-Tk-kT-Tk-k| [MIDI] Notice how the "saghiira" variation of "waaHida" leaves the 3rd beat empty. This seems a strange accent pattern -- more on this below. If you take this "waaHida" and finish with another common 4 beat segment (making an 8),you have another rhythm, "ciftitelli", that is considered a Turkish or Greek rhythm. It is presumably named after the Turkish instrument that has strings tuned an octave apart.
It is, at its basis (if you cross your eyes a lot), similar to a maqsuum. It is usually filled as an 8-beat rhythm and has a much different feel. It is common in Turkish (and other) belly dance -- usually it is play moderately slowly and preferably (I think) with a lot of space (i.e. not all "filled in"). Drummers tend to have fun filling in the end of the rhythm in various, sometimes unexpected, ways. It is sometimes used to accompany a taaqasiim (melodic improvisation). Some drummers (confusingly) call the rhythm "taa-
qa-siim". It is very confusing because a very similar Arabic word "taq-sim" means "split" or "divided" and can be used to refer generally to "maqsuum". Egyptians tend to play simpler version of Ciftetelli than you might find in Turkey and call it "waaHida taaqasiim" or maybe "waaHida kabiir". ciftitelli (shiftaatellii) 8/4
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-| D---__T---__T---D---D---T---____| [MIDI] D-tkt-T-tkD-T-tkD---D---Tktkt---| [MIDI] Often rhythms are combined like this, or have versions that are half or twice as long. The basic maqsuum played half as quickly is known as "maSmuudii". The Masmoudi (I've reverted to the common transliteration) rhythm is characteristically a joining of two 4-beat phrases. Sometimes it is called "Masmoudi kabiir(big)" to differentiate it from a 4-beat rhythm (Masmoudi saghiir). Often the first phrase has 2 leading beats. One of these versions is sometimes called "warring masmoudi" -- supposedly it sounds like a man and woman arguing. A 3 leading beat version is called "walking masmoudi" -- the even stride making it particularly suited for marching. Masmoudi's are fairly common in belly dance music -- historically they are also used in muwashashat -- they are particularly percussion-intense and make a quite convenient and recognizable rhythm in which a dancer can accent a dance.
This, as I said, is at its core the same rhythm as maqsum but it is filled as an 8 rather than a four and played more slowly. Generally speaking Masmoudi's sound big (kabiir) and the maqsums quick and nibble (khafiif). There is some evidence that the masmoudi rhythms were used in early muwashahat music and have a more art-music basis than the maqsum which is currently found in a lot of folk songs. The Masmouda are one of the three main groups of Berbers in Morocco. They live west of the Rif and Grand and Middle Atlas in Morocco. "Masmouda" may also be used to refer to the region. maSmuudii 8/4
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-| D---D---____T---D---____T---T---| [MIDI] D---D---tktkT-tkD-tktkt-TktkT-tk| [MIDI] D---D---D---T---D---____T---T---| [MIDI] A maqsuum played as a 2 beat rhythm is called "falaahii". It is usually very fast and often evenly filled. It is a common folk version used for dance ("falaah" is another word for country-folk or peasant). It is common in upper Egypt. It is usually played about twice as fast as a maqsum and therefore is often considered a 2 beat rhythm -- played more slowly (as a 4) it is the "walking maqsuum" discussed above.
falaahii 2/4
1-+-2-+-| Dk-kD-k-| [MIDI] DtktDktk| [MIDI] DgkgDkgk| [MIDI] Ayyuub is similar. It is a common and fairly simple 2/4 rhythm. It is played in areas of the Middle East from Turkey through to Egypt. It is used in a slow form for a tribal north African (Egyptian) trance dance known as the Zar (the rhythm is sometimes called "Zar") -- toward the west (Morocco) these same sorts of trance dances are generally done to a 6 beat rhythm. Ayyuub is also quite common at a faster (or much faster) pace in belly dance music and music for folk line dances. Some say that Ayyuub is supposed to sound like a camel walking. Bayou is a rhythm with the same time pattern but has a double DUM and is usually played more slowly -it is often used in belly dance drum solos.
ayyuub 2/4
1-+-2-+-| D--kD-T-| [MIDI] D-kkD-S-| [MIDI] DktkDtkt| [MIDI] bayou 2/4 1-+-2-+-| D--DD-T-| [MIDI] D-kDD-S-| [MIDI] If you exchange the fundamental DUMs and TEKs in ayyuub you have another rhythm: karAtshi (Karatchi). Karatchi is a fast 2/4. Note that the second DUM somehow comes out less accented than the other accented beats. It is used in modern Egyptian music and sometimes alternated with similar rhythms as a part of a song. Hossam Ramzy says of Karatchi: "From the word 'Karatchi' you can tell that the next rhythm is not Egyptian. it's also very unusual because it starts with a TAK, which is the treble beat rather than the DOM, which is the bass beat. However it is widely used in Egyptian music and North African music."
karAtshi 2/4
1-+-2-+-| T--kT-D-| [MIDI] TktkT-D-| [MIDI]
Here are a couple of other simple 2 and 4 beat rhythms. "vox" or "foks" (could it be "fox", and named after the "foxtrot"?) is very simple 2 (essentially a march -- probably inspired by western music) often accented in sets of 4 or 8. Used in modern Egyptian compositions. Used by Egyptian composer Mohamed Abdel Wahab.
foks/vox 2/4
1-+-2-+-| D---T-K-| [MIDI] "Jerk" is a Modern Nubian rhythm inspired by a dance of the same name. (Similar to Samba?) In Egyptian songs (e.g. Fi Yom Wi Leyla) I've heard the double-Dums very close together -- although someone told me that Souhail Kaspar (a Lebonese teacher in California) taught them the less syncopated (second) version below.
jerk/jaark 4/4
1-+-2-+-3-+-4-+-| D---T---DD--T---| [MIDI] D-kkT-tkDDtkT-tk| [MIDI] D---T---D-D-T---| [MIDI] D-tkG-tkDkDkG-tk| [MIDI] Bolero and a very similar rhythm, Rhumba, are used in many places in the Middle East. Bolero is usually played more slowly and often with a sort of triplet near the beginning -- it is used to accompany songs like "Erev Shel Shoshanim" and "Miserlu". Rhumba is often played almost twice as fast (Rihlat El Ghawzia by Hossam Shaker). Although fundamentally these are 3-3-2 rhythms (like malfuf/waaHida saghiira) -- the feeling is rather different. This family of rhythms (it's ancestors) and variations were probably brought to Spain by Middle Eastern musicians (and gypsies?), adopted into Latin music and probably re-introduced in various ways into modern Middle Eastern tunes.
bolero 4/4
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-| D---t3kkT---k---T---k---D---k---| [MIDI] D---k-k-T---k-k-T-k-T-k-D---T---| [MIDI] rumbaa/rhumba 2/4 1-+-2-+-3-+-4-+-| D---____T---D---| [MIDI] D-tkt-K-T-K-D-k-| [MIDI] "zaffah" is a rhythm used in the Egyptian wedding processional. Its basic nature is that of a march. It is used in the wedding processional itself and also sometimes for belly dances that are reminiscent of these events. (Note that the related "candelabra dance" is usually done to a more up-beat 2 or 4 beat rhythm -- e.g. Saidi). It may also be called "Murrabba Jaza'ira".
zaffah 4/4 (or 8/4)

1-+-2-+-3-+-4-+-| D-tkt-t-D-t-t---| [MIDI] D-tkt-t-D-t-t-tt| [MIDI] D-tkt-t-D-t-D---| [MIDI] D-D-D-t-tktkt-t-| [MIDI]Hossam Ramzy's "Big Zaffa"
Q: OK, I've got that. What's next? ( Middle Eastern rhythm theory and
more rhythms )
Now that we've discussed a few rhythms, let's back up a bit.
So far I presented these rhythms in a very western way -- as evenly divided "measures" of notes. Historically and traditionally (even now in some folk music traditions) this sense of meter or measure is much less important. As I mentioned the ancient Greeks, for instance, had only a sense of stringing numbers of longer or shorter beats together. Repeating cycles were because of the song, not because there was a particular standard length of measure. The Arabic tradition follows to some extent, as does the modern Balkan music. Sometimes interpreting a folk rhythm in our modern western musical context is a challenge... Modern Middle Eastern and Greek musicians tend to approximate the western method of breaking down rhythms down by measures. The number of beats per measure (whether played or not) is important. Measures are made up of groups of 2 or 3 beats (or more) -usually the first beat of these groups is the important one (that is the one accented or played more fundamentally than the others). Historically the repeating pattern was probably stressed and the sense of a fixed measure was probably weaker. Certainly it is still true in much modern music that the western notation does not capture the subtle timing and syncopation that might be important in a rhythm.
Recall the version of waaHida that has what we thought was a strange accent pattern -- leaving out the accent right in the middle of the cycle.
waaHida saghiira 4/4

1-+-2-+-3-+-4-+-| D---__T-____T---| [MIDI]
More traditionally this rhythm would be broken into segments of 2s and 3s. It would be 3+3+2 in this case:
D---__T-____T---| 1-2-3 1-2-3 1-2 | 3 + 3 +2 You might see it written indicating the segment breaks: D---__:T-____:T---| There are a number of rhythms of this form where 8 beats are divided 3+3+2 to be found in the music of the Middle East and Mediterranean. The Macedonian gypsy (Romany) version is called "cocek" (CHO-CHEK) and has a spacey swing to it. In other areas of Greece these rhythms are used to accompany many songs and line dances and tend to be known as "syrto" (which is the name of a particular line dance, and also is used to describe the style of music). Syrto's tend to rock back-and-forth on alternating measures changing accent slightly (or dramatically) and sometimes are far from "straight" -- being pulled back sometimes to almost a 7-beat. In the gulf region (Saudi Arabia) this type of rhythm is called "saùdI" (Saudi) or "khaliijii" and is played more slowly and less filled with DUMs on both 1 and 3. It is sometimes played polyrhythmically with other 8-beat rhythms e.g. "karaatshii" (Karatshi) -polyrhythm being an oddity in Middle Eastern music. Apparently this is a fairly modern musical trend influenced by workers imported from other countries (especially from continental Africa) to support the oil economy. In Egypt and Lebanon this rhythm is called "malfuuf" or "laf" and is more filled and often accented -- most often with a DUM only on 1. "malfuuf" is used to accompany line dances and also used in more modern, popular music. Western musicians would count many of these rhythms a 2, since the music tends to swing in and out finding accents on the first beat and then on "everything else".
cocek 4/4=3+3+2
1-+-2-+-3-+-4-+-| D---t-T---t-T-k-| [MIDI] malfuuf 2/4=3+3+2 1-+-2-+-| D--T--T-| [MIDI] DkkTkkTk| [MIDI] D-kT-kT-| [MIDI] saùdI 2/4=3+3+2 1-+-2-+-| D--D--T-| [MIDI] D-kD-kTk| [MIDI] syrto 4/4=3+3+2 1-+-2-+-3-+-4-+-| D---k-D---k-T-k-| [MIDI] D---k-T---k-T-k-| [MIDI] "Muwashshat" is a form of spoken/sung Arabic poetry. Ali Jihad Racy and Jack Logan, Ph.D. in Arab Music : "Moorish Spain also witnessed the development of a literary-musical form that utilized romantic subject matter and featured strophic texts with refrains, in contrast to the classical Arabic qasidah, which followed a continuous flow of lines or of couplets using a single poetical meter and a single rhyme ending. The muwashshah form, which was utilized by major poets, also emerged as a musical form and survived as such in North African cities and in the Levant, an area covering what is known historically as greater Syria and Palestine. In this area, the muwashshah genre became popular in Aleppo, Syria."
The rhythms below, dawr hindii, muHajjar, murabbà, samaa'ii darij, samaa'ii thaqiil,as well as maSmuudii, are used in muwashshat. The samaa'ii (from an Arabic root "sma", which means to listen -- particularly to music) is a Turkish form of classic music (some say "old aristocratic Turk music") that has a certain structure of 10 beat sections and usually ends with a faster set of 6 beat measures. I have also heard "dawr hindii" called "sheelto" (I don't know whether this is correct as I've also heard a similar 6 beat rhythm referred to as sheelto). These rhythms tend to be found more in art music rather than folk music of the Middle East. I've seen Egyptians refer to dawr hindii as "andalus" (e.g. Amar Andalus by Mokhtar Al Said). muHajjar 14/4
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-0-+-1-+-2-+-3-+-4-+-| D---D---D---____T---____D---____________T---____T---____| [MIDI]4+2+4+4 D---D---D---____T---____D---____T---____T---____T---T---| [MIDI] D-tkD-tkD-tkt_k_T-tkt_k_D-tkt_k_T-tkt_k_T-tkt_k_T---T---| [MIDI]al-maSrii 2+4+4+2+2 murabbà 13/4=3+4+2+2+2 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-0-+-1-+-2-+-3-+-| D---T---T---D---__T---__T---T---____T---T---D---____| [MIDI] D---T-tkt-k-D-tkT-k-t-k-T-k-T-tkt-k-T-tkT-k-D-tkt-k-| [MIDI]
samaaìi ath-thaqiil (or Aghr aqSaaq samaaìi) 10/4 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-0-+-| D-______T-__k-______D-__D-__T-______T-__| [MIDI] D-__t-k-T-k-S-__t-k-D-__D-__S-__t-k-T-k-| [MIDI] samaaìi darij (or darj) 6/8 or 3/4 1-+-2-+-3-+-| D-T-T-D-T-__| [MIDI] D-TkT-D-T-__| [MIDI] D---T-T-T-__| [MIDI] "darj" generally refers to a 6 beat rhythm -- it can have many forms depending on where you are. 6s tend to be a little straighter (nonsyncopated) in Persia or can swing or syncopate heavily in places like the Mahgreb. Sometimes, though, it refers to a rhythm in an even multiple of 2 time (4 or 8) -- I think this is due to the fact that it is hard to distinguish a 6 beat rhythm from a 2 beat rhythm that is filled in a syncopated way.
darj 6/8
1-+-2-+-3-+-| D-ktk-D-T---| [MIDI] D-D-__T-T-__| [MIDI] Algeria "Dawr" is used in Arab, Persian, and Turkish music lingo; it refers to a scale or rhythmic cycle that returns to its starting point. "Dawr Hindi" is first documented in "Ma'refat-e 'elm-e musiqi" an anonymous work from about the 17th century (probably Persian).
dawr hindii/"Andalus" 7/8

1-+-2-+-3-+-4-+-5-+-6-+-7-+-| D---T---T---D-------T-------| [MIDI] 3+4 D---T-k-T-k-D---t-k-T---t-k-| [MIDI] filled Rhythms that make use of segments(feet) of 3 are known as "aqsaaq" -- it means "broken" or "limping". This type of rhythm is still part of a lot of traditional Middle Eastern music. The term "aqsaaq" is used by Turkish musicians (and others) to describe a wide variety of rhythms counted in groups of 2s and 3s that are not even. Aqsaq rhythms do not necessarily well fit our western traditions of ratioed measures -- playing correctly is more about fitting the phrasing and timing of the song than some mathematical structure.
Several of the rhythms mentioned have been aqsaaq rhythms, including "samaa'ii thaqiil"; here are some more rhythms: Karsilama means "face-to-face" in Turkish. This 9 beat rhythm is a popular belly dance beat, and is also used in Turkish and Greek folk songs (e.g. "Rompi Rompi", "Mastika") and modern Turkish "jazz". The rhythm is grouped as 2+2+2+3 or can be counted in two uneven groups of 3 (slow-then-fast) 1 2 3 123. This 9-beat aqsaaq rhythm is so popular it is sometimes simple called "aqsaaq". karsilama 9/8=2+2+2+3
1-+-2-+-3-+-4-+-5-| D-__T-__D-__T-T-T-| [MIDI] D-kkT-kkD-kkT-T-T-| [MIDI] D-tkT-tkD-tktkT-T-| [MIDI] Curcuna (JOOR-joon-nuh -- the Turkish "C" is a sound like an english "j" or "ch") is an Armenian rhythm (I've also heard it in Afgani tunes -- often times nearly straightened to a 6). It is a 10 rhythm being grouped 3+2+2+3. When played it can almost sound like ayyuub (a 2) with just a bit more space in it -- or like a 6 beat rhythm. It is not even -- it has a bit of syncopation which is hard to describe. If you think of it long-short-short-long you'll probably get it. Be careful not to "straighten it out" into a 2 or a 6. I have sometimes heard the rhythm called "Nubar" -- probably because it is used for the song "Nubar Nubar". Arabic speaking nonArmenians probably call it "jurjina" which if you are Egyptian probably comes out "gurgina".
curcuna 10/8
1-+-2-+-3-+-4-+-5-+-| D-__T-k-__D-__T-____| [MIDI]2+3+2+3 D---__T---D---T---__| [MIDI]5+5 There are basically two ways used to form a simple 7-beat rhythm: either 2+2+3 or 3+2+2. I already mentioned "dawr hindii" which is a 3+2+2. In Greece and Turkey the 223's are generally known as "laz" or "laz bar" and the 322's as "kalamantiano" (Kalamata is a port in south Greece). Both forms are used for various folk line dances and songs.
laz 7/8=2+2+3
1-+-2-+-3-+-4-| D---T---T-----| [MIDI] D-k-D-k-D-k-k-| [MIDI] kalamantiano 7/8=3+2+2 1-+-2-+-3-+-4-| D-t-t-D-t-D-t-| [MIDI] D-----T---T---| [MIDI] D-ktk-D-k-S-k-| [MIDI] D-tkt-D-tkT-t-| [MIDI] Another Greek rhythm is called "zeybek" and is used in "zeymbekiko" music.
Zembekiko is a popular (traditional) Greek solo dance for men -- I have heard it described as "a guy dancing around a glass of ouzo on the floor looking like he's rolling dice" (this description is perhaps "tourist-ish"). Samra sent me a description from a Greek folk dance teacher: ...Zembekiko was born from Rembetika and came out of the war periods (20's - 40's). It was a way for people to express their pain - the songs then were all about hardship, poverty, loss, etc. (Now they are mostly songs about love songs - usually loss in love). The dance is traditionally done solo, usually with a hunched stance and often with a smoke in one hand and a drink in the other, representing the sorrow they feel and the fact that they're drowning it in drink. It's an improvised dance. There are no set steps, it's a set style. Big leg kicks, lots of swaying, often low to the ground, arms outstretched and in a hunched stance, head bowed and eyes to the ground. Generally known as 'the drunk man's dance' among Greek people, but according to Mary this is erroneous. It comes from the history of Zembekiko (see above), but of course one does not need to be drunk to do it. ... It's not an ancient dance like other folk dances. It's like the blues of Greek dancing. Apparently the Zeymbekiko is somewhat older than that -- Mantos Garlofis mentions more about it in his letter to me. This is a 9-beat rhythm with a completely different feel than the Karsilama we discussed previously. It is grouped 4+4+1 and is usually much slower that the 9 of Karsilama -perhaps it sounds more like 8 very spacey measures of 2 or 4 beats plus a half measure. As written here it is fundamentally two measures of a 4 beat phrase (similar to the basic waHiidaa) followed by a single beat -- however, in practice it is much more important that the beats match the music being played. The "extra beat" can be used by a good dancer to add particularly noticeable accents to a dance arrangement. zeymbekiko/zeybek 9/4=4+4+1
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-| D---t-k-D---t-k-D---t-k-D---t---t---| [MIDI] Another family of Greek rhythms is the Tsamikos. They are approximately a 3 or 6-beat rhythm and are not "even"; they feel "slowquick-quick". It is important to match the rhythm of the music -- perhaps sometimes they sound like "long 2s" or "short 7s".
tsamiko 6/8 or 3/4

1-+-2-+-3-+-4-+-5-+-6-+-| D-----k-T---k---T---k---| [MIDI] maybe this D-----k--T--k--T--k-----| [MIDI] or maybe like this For more information about these rhythms and a bunch of other Greek rhythms look at a letter that Manthos Garlofis wrote me about Greek rhythms. Further east, the music of the Mahgreb (Morocco, Tunisia, and Andalusia) have been greatly affected by Arabic influences. Modern Spain still has remnants of Arabic influences despite a reaction to purge as much Moorish culture from the region as possible after the Moors were driven from the country. The flamenco rhythm tradition partially grew upon roots of Arabic tradition and the nuba is still considered primarily "Andalusian" although it is also a part of the traditional classical music of most of north Africa.
Here are some rhythms are traditionally used in this form of Andalusian musical presentation known as "nubaat". Each section of a nuba contains some number of songs that share one of these rhythms and are played without break (or sometimes with a brief taaqasiim). BasiiT sort of has the feel of a bolero or rhumba, but in 6. I suspect that they are related somewhere in the distant past in the blending of Arabic tradition. Quddaam, although written as a 3 often comes out (at least in songs I've heard) sounding like a 2 or a 4 -- especially when it gets fast (and it does). This may be the effect of a "modernization" of Andalusian music. basiiT 6/4 or 12/8
1-+-2-+-3-+-4-+-5-+-6-+-| D-_TD-T-T-TkT-TkT-____T-| [MIDI] D-k-D-tkT-k-t-k-D-k-t-k-| [MIDI] bTaa'iHii 8/4 or 8/8 1-+-2-+-3-+-4-+-| D-_D-TDTD-T-DD-T| [MIDI]Morocco D-_T__T-__D-T-__| [MIDI]Tunisia qayIm wa niSf 8/4 or 8/8 1-+-2-+-3-+-4-+-| D-D-T-_T-_T-T-__| [MIDI] TkTkDtTktkDkDkt-| [MIDI]3+2+3 Touma writes it this way (rotated?)
quddaam 3/4 or 6/8 1-+-2-+-3-+-| D-D-_TD-_T-_| [MIDI] D-tkt-t-D-t-| [MIDI]Touma D--kt-k-D--t| [MIDI] inSiraaf 5/8 1-+-2-+-3-| D-T-__D-__| [MIDI] 1st bar DDT-__T-__| [MIDI] 2nd bar T-T-D-_D-T| [MIDI] khlaS or makhlaS 3/8 1-+-2-| D-tT-_| [MIDI] D-D-TT| [MIDI]Algeria "sha'bia" is a Moroccan polyrhythm (unusual in Middle Eastern music -- and hardly a polyrhythm by the standards of continental African rhythm) played on at least two drums. The 6 beat rhythm is supposed to represent "heart" and the 12 "lung".
sha'bia 6/8x2 and 12/8

1-+-2-+-3-+-4-+-5-+-6-+-| T-K-T-K-D-K-T-K-T-K-D-K-| [MIDI]6 part (heart) G---D---K-G---K-D-------| [MIDI]12 part (lung) This is a bit "unnatural sounding" to the western ear since the most specific accent is not at the start of the measure. Although even some Moroccan music seems to rotate it so that the "one" is on a DUM.
Here is another version (according to Hassan Erraji and Salah Dawson-Miller): sha'bia 6/8x2 and 12/8
1-+-2-+-3-+-4-+-5-+-6-+-| T-t-t-T-D-t-T-t-t-T-D-t-| [MIDI]6 part (darabuka - heart) ====t===D=====t===t=D===| [MIDI]12 part (bendir - lung)
Persia
Apparently Persian music has lost a lot of the more varied rhythmic modes that are mentioned in historical works written during the height of the Persian and Arabic empires. Today most (fixed-rhythm) Persian rhythmic modes are fairly simple 2s, 4s, 6s, or 8s. In Persia there is still a (fading) classical tradition for music and song that has no western sense of fixed measure but is based on a loose poetic meter.
Modern (and probably much older) Persian music focuses a lot on melodic and rhythmic improvisation -- primarily on the stringed "tar". A tar is a skin covered string instrument similar to (and probably the ancestor of) the oud. The Persian version of the globet shaped drum is called a "Zarb", "Tombak", "Dombak" -- it is one of the most subtle and interesting Middle Eastern percussion instruments -- it is probably fairly modern as it starts to appear in artistic representations of musicians in the 19th century. Zarbists make a wide variety of sounds using complex finger technique on the head of the drum and also by tapping and scraping rings on the corrugated side of the drum -- playing along with the stringed instruments during fixed measure sections -- and also improvising drum solos. The instrument has become popular in recent years due to a few revolutionary players in the middle part of the 20th century, including the esteemed Hosain Tehrani. For more information on the tombak, tombak players, and Iranian music check out The Tombak Network. Awfar is one of the five fundamental patterns documented in a 17th century Persian work. I don't know if it describes the rhythm as modernly notated: awfar 19/8=6+4+2+7
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-0-| D---D-------T---T---D---D-T---T-------| [MIDI] D---D-------T---T---D---D-T---D-------| [MIDI] Mukhammas is a form of five line Persian verse. Presumably this rhythm accompanies a vocal or musical form of this poetry.
mukhammas 16/4=7+3+2+4
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+-0-+-1-+-2-+-3-+-4-+-5-+-6-+-7-+| D---____D---____D---__T---__|T---T---____|T---T---|D---____________| [MIDI]
Persia / Sufi
Check out Peyman's comments on rhythms used on the daf(frame drum) in Persian Sufi music at this site http://rhythmweb.com/frame/sufi_daf.htm.
Of course the rhythms can also be played on other instruments. Many of these rhythms are rather syncopated in practice. It's very difficult to get the nuance or "feel" of the rhythm just by reading the musical notation or by listening to an perfectly counted MIDI sample (there are some live samples at the site above). Daem 4
1-+-| D-tt| [MIDI] Garyan 14 1-+-2-+-3-+-4-| D-_D-t-t-_D-t-| [MIDI] Haddadi 8 1-+-2-+-3| D-Dtt_tt | [MIDI] HalGerten 16 1-+-2-+-3-+-4-+-| D-ttD-t-T-ttD-t-| [MIDI] HayAllah 8 1-+-2-+-| D-Dtt-T-| [MIDI] HayAllahAllah 10 1-+-2-+-3-| D-kT-D-T--| [MIDI] Maddahi 12 1-+-2-+-3-+-| D-D-TtD-T---| [MIDI] Saghghezi 12 1-+-2-+-3-+-| DttDt-TttDt-| [MIDI] ZekrEDovvom 16 1-+-2-+-3-+-4-+-| D-ttD-ttD---T-T-| [MIDI]
The Balkans
Balkan musicians have a pulse-based system in which they will first categorize a rhythm based on the number of strong beats or pulses in the cycle. Then particular pulses that are accented and pulses that are longer or shorter than the rest are noted.
For instance a rhythm like "dajchovo", which is fundamentally the same as the 9 beat karsilama, might be counted as a "4 with a long 4th". The fill TEKs at the end (since they are not fundamental) are often syncopated. dajchovo 9/4
1-+-2-+-3-+-4-+-5-| D---T---D---T-----| [MIDI] D---T---D---T-t-t-| [MIDI] D---T---D---T----1 2 3 4(long)
Another "nine" called "Grantchasko" (used in the song "Sto Me Je Mile Em Drago"), has a "long 2" (I think Grantchasko means "potter"): grantchasko 9/4
1-+-2-+-3-+-4-+-5-| D---D-----D---T---| [MIDI] D---D---t-D---T-T-| [MIDI] D---D-----D---T---, 1 2long 3 4 Or, a more complicated rhythm, "sandasko" is counted a "10 with a long 4 and long 8". A western musician would probably consider this a 22 beat rhythm with a very slightly shortened 9 and 11. A Bulgarian musician would probably break it into 2 phrases: 10=6+4 (or 22=13+9, if you are using a western system -- even so the rhythm sounds 22=9+9+4 to a western ear). Hard to explain, no?
sandasko 22/16
1-+-2-+-3-+-4-+-5-+-6-| D-t-t-t-.t-t-D-t-.t-t-| [MIDI]
1 2 3 4+ 5 6 7 8+ 9 10 Here are a few more:
sedi donka 25/16=7+7+11

1-+-2-+-3-+-4-+-5-+-6-+-7| D--t-t-D--t-t-D-t-t-.t-t-| [MIDI] Break Sedi Donka down like this: two 7s=3+2+2 (like the Greek Kalamantiano) and then an 11 or "5 with a long 3". Notice how you could wrap the rhythm around the measure break and it would have 3 repeating segments followed by a bit of couple of beats "at the end". |<-real start |<- real end t-t-D--t-t-D--t-t-D-t-t-.t-t1----- 1----- 1----- *** |<-but it might sound like it starts here be careful though, the placement of the beginning of the rhythm cycle is important to fitting in to the music and ornamenting or accenting the rhythm. This type of pattern (where it sounds to the western ear like the end of the cycle seems to wrap into the beginning of the next) is common in Balkan rhythms.
The Balkan 7 that is phrased 2+2+3 (similar to the Greek "laz") is called rachenitsa 7/8=2+2+3
1-+-2-+-3-+-4-| D---D---D---k-| [MIDI] D---T---T---k-| [MIDI] D---k---D---k-| [MIDI]
The Balkan 7 that is phrased 3+2+2 (similar to the Greek "kalamentiano") may be called "lesnoto" -- which is usually used for the name of a dance (or family of dances) to a slowquick-quick rhythm or "chetvorno". lesnoto 7/8=3+2+3
1-+-2-+-3-+-4-| D---k-T---T---| [MIDI] D---k-D-kkT-tk| [MIDI] However, just looking at the count will not give you a good indication of how to play these rhythms -- they really have to fit the style of the music.
Many tunes are in measures of 2 with a tendency to use triplets to fill the rhythm -- so they may sound or count more like 6s. We find this in a similar but probably unrelated way in music in the Mahgreb. pravo 2/4
1-+-2-+-| D---T---| [MIDI] or in the same time as above but filled as if in 6 (i.e. sounds like a 6 but is really a 2).
pravo 6/8
1-+-2-+-3-+-| D-----T-----| [MIDI] D---D-T---T-| [MIDI]filled D---T-D---T-| [MIDI]filled Other 2s are relatively straight and non-syncopated, such as "triti puti" which is similar to "ayyuub":
triti puti 2/4

1-+-2-+-| D-ttD-t-| [MIDI] D-t-T--t| [MIDI] D-ttD-t-| [MIDI] D-t-T---| [MIDI] Neda Voda is a song that was brought from Macedonia by a musician who heard this song being played in a train station by the locals. This is the rhythm that goes with it. It is rather pleasant 11 beat rhythm. Here is some notation I found on the web for a dance http://www.sacredcircles.com/THEDANCE/HTML/DANCEPAG/NEDAVODA.HTM
neda voda 11/8

1-+-2-+-3-+-4-+-5-+-6-| D-tkt-tkD-tkt-tkD-D---| [MIDI]
Yemen
Yemen has a strong academic music tradition. In a sort of cultural conservatism they have retained much of the early Arabic music influences based on poetic meter. Here are some rhythms from Yemen that are traditional.
das'a kabIr 11/8

1-+-2-+-3-+-4-+-5-+-6-| D---T-----T-----T-----| [MIDI]
das'a mutawassit/medium das'a 7/8 1-+-2-+-3-+-4-| D-T---D---T---| [MIDI] das'a saghIr/fast or split das'a 7/8 1-+-2-+-3-+-4-| D-----T---T---| [MIDI] Darb al-wasta/"medium wasta" 4/4 1-+-2-+-3-+-4-+-| D---T-T---T-T---| [MIDI] D---T-T---T-D---| [MIDI] Darb as-sarI'/"fast wasta" 4/4 1-+-2-+-3-+-4-+-| D---T-D---T-T---| [MIDI] Adoni might be considered a wasta:
"adoni" 4/4
1-+-2-+-3-+-4-+-| D---K---K-D-D-K-| [MIDI]
abwanii (6/8=2+4)
DDD-T-T-T-T-,[MIDI]
àlaajjii(tunisia) (6/8)
D-__D-T-__T-,[MIDI]
àliilaawii(iraq) (10/8)
D---T-T---D---T---T-,[MIDI]
àllaajii (6/8=3+3)
D-DT_DT-,[MIDI]
see: mudawwar al-Hawzii(Algeria/Tunisia) àllaawii(algeria) (2/4)
àraj al-batii' (3/4)
see: yuruk as-samaaìi àraj as-samaaìi (3/4) see: yuruk as-samaaìi àraj at-turkii (5/8=2+3)
D-__T-__T-,[MIDI] D-__T-__k-,[MIDI] D-__T-____,[MIDI]
àraj at-turkii (5/8)

D---T---D-,[MIDI]
[' Turkish late 19th c.']
àrda al-awwal(kuwait) (3/4)

D---D---T---,[MIDI]
àrda ath-thaanii(kuwait) (6/8)

D-T-D-__T-__,[MIDI]
àrwaasii ath-thaanii(libya) (8/16)

DT-TDTT-,[MIDI]
àrwasii al-awwal(libya) (4/8)

D-T-TkTk,[MIDI]
àthamaanii al-awwal(libya) (3/8)

D-TkTk,[MIDI]
àthamaanii ath-thaanii(libya) (6/8)

D-T-T-T-T-__,[MIDI]
àwiis (11/8=3+4+4)
D-__T-D-__T-k-D-D-__T-,[MIDI]
àwiis (11/4=3+4+4)
D---____T---D---____T---k---D---D---____T---,[MIDI]
àwiis (11/4=3+3+5)
["Touma's version : rotated from others I've seen"]

T---D-------T---D-------T---T---D---D-------,[MIDI]
aàraj al-kabiir (18/8=3+3+2+2+4+4)

D-____T-____D-__D-T-D-T-T-__D-T-____,[MIDI]
aàraj samaaìi (3/4)

see: daarij
aaghr aqsaaq samaaìi (20/8=10+10)
D-______T-__k-______D-__D-__T-______T-__,[MIDI] D-______T-__k-______D-______T-______T-__,[MIDI] Touma: without 3rd DUM D-______t-__S-______D-__D-__S-______t-__,[MIDI]
aanadulus (7/8=4+3)
see: dawr al-hindii
abyaat(tunisia) (8/8)
D-T-D-T-T-T-T-T-,[MIDI] 3+2+3 D-TkD-T-D-T-T-T-,[MIDI] 4+4
adoni(yemen) (4/4)
D---K---K-D-D-K-,[MIDI]
afr mawlawii (9/4=4+2+3)
D---T---T---____D---D---T---T---____,[MIDI] D---T-k-T---k---D-m-D---T---T---____,[MIDI]
aghr aqsaaq turkii (5/4=4+1?)

D---T---T---T---T-k-,[MIDI]
aghr aqsaq (9/4=4+2+3)

D---____T---k---D---____T---____T---,[MIDI]
aghr dawr hindii (7/4)

D---m-D---T---D---m-T---T---,[MIDI]
al fezzaanii ath-thaalath(libya/tunisia) (8/16=4+4)

DDTTDDTk,[MIDI]
al foks al-àrabii (2/8)

[' see also "vox"']
D-T-,[MIDI]
al jalwah(libya) (2/8)
see: al foks al-àrabii
al masa al-habiib(kuwait) (16/4=2+2+2+2+2+4+2)

DTD-DTD-T-T-DTD-_T-T__D-T-T-DTD-,[MIDI], format note: divided by 2
al muthallath(iraq) (8/8)
see: jubii(Iraq)
amrii(libya) (14/8=4+4+3+3)
D-T-T-TTD-T-T-TTT-T-T-D-T-T-,[MIDI]
antikrysto zeymbekiko(greek - smyrni) (9/8=2+3+2+2)

D---T-K-D---T-K-T---D---T-K-T---T---,[MIDI] D--rT-K-D--rT-K-T-k-D--rT-K-T--rT-k-,[MIDI]
aptaliko zeymbekiko(greek - attalia asia minor) (9/8=3+6)

D---T---T---D-T---K-D---T---D-T---K-,[MIDI] D---T-k-T---D-T---TkT-tkT-tkT-T---K-,[MIDI] D-_kT-k-T-k-D-_kt-K-D-k-T-k-D-_kt-K-,[MIDI]
aqsaaq (9/8=2+2+2+3)
['Turkish/Greek dance']
D-__T-__D-__T-T-T-,[MIDI] D-__T-__D-__T-T-__,[MIDI] D-kkT-kkD-__T-T-T-,[MIDI] D-tkD-tkT-tktkT-T-,[MIDI] Romany variation
aqsaaq al-ifraanjii (9/8=4+2+3)

['Turkish origin'] [' Touma?']
D-__T-T-D-__T-__T-,[MIDI]
aqsaaq araj (9/8)

D---T-K-D---T---T-,[MIDI] 4+2+3
aqsaaq at-turkii (5/4)

D---T---T-------T-__,[MIDI]
aqsaaq samaaìi ath-thaqiil (20/8=10+10)

see: aaghr aqSaaq samaaìi
D-__T-k-D-D-T-__T-,[MIDI] 4+5 D-__T-__T-D-__T-__,[MIDI] 2+2+5 D-__D-__T-D-__T-T-,[MIDI] 2+2+5
aqsaaq(turkey/egypt) (9/8)
arbà w' al-àshriin halbii (24/4)
D-T-|D-T-|D-DDT-|D-T-T-|D-T-T-|D-T-T-|D-T-T-T-|D-__T-T-,[MIDI],=2+2+3+3+3+3+4+4, format note: divided by 2 D-T-D-T-|D-D-DTD-|T-T-D-T-|T-D-T-T-|D-T-T-T-|D-__T-T-,[MIDI],=4+4+4+4+4+4, format note: divided by 2
arbà wal-ìshruun (48/4) arwal (2/4)

see: baruel
D___|D_D_|T_D_|T_D_|T_T_|D_T_|D_T_|D___|D_DD|T___|T_T_|D___,[MIDI],=4+4+4+4+4+4+4+4+4+4+4+4, format note: divided by 4
assamaarii(libya) (4/4)
D---T-T-D---T---,[MIDI]
awfar (19/4=6+4+2+7=2+2+2+2+2+2+3+4)
see: awfar al-maSrii awfar al-masrii (19/4=6+4+2+7=2+2+2+2+2+2+3+4)

D-__D-__T-__T-__T-T-D-m-D-T-k-D-__T-T-,[MIDI], format note: divided by 2 D-__D-______T-__T-__D-__D-T-__D-______,[MIDI], format note: divided by 2 D-__D-______T-__T-__D-__D-T-__T-______,[MIDI] Touma, format note: divided by 2
awsat al-àrabii (13/8=2+4+2+5)

D-D-T-k-T-k-D-T-D-D-T-T-k-,[MIDI]
awsat al-maasuur (13/8=2+4+2+5)

see: awsaT al-àrabii awsat at-turkii (13/4=3+2+1+3+4)
TkT-k-D-T-D-D-T-TkD-__D-__,[MIDI], format note: divided by 2
ayyuub(egypt) (4/8)
D-__D-T-,[MIDI] D-TTD-T-,[MIDI] TT-TD-T-,[MIDI] __DDD-T-,[MIDI] D-_TD-T-,[MIDI]
azdaad(libya) (5/8)
_DD-T-D-T-,[MIDI] D-TkT-T-,[MIDI] D-TkD-T-,[MIDI]
b'taa'ihii(algeria) (4/8) bahrii sayafii (6/8=4+2)

DDD-T-T-D-T-,[MIDI]
bajja (3/8)
DDT-T-,[MIDI] D-T-T-,[MIDI]
bajja(sudan) (4/8)
DDT-T-T-,[MIDI]
bajja(sudan) (3/4)
D---T-T-T-T-,[MIDI]
bakdaash haanah (14/4=3+4+3+4)

D-__D-D-__T-T-D-__T-D-__T-T-,[MIDI], format note: divided by 2
baladii (4/4)
D-D-__T-D-__T-__,[MIDI] D-D-TTT-D-TTT-TT,[MIDI] D-D-__D-D-TTT-TT,[MIDI] D-D-TTTTD-__T---,[MIDI] D-T---T-D---T---,[MIDI]
baladii al-maqluub (4/4)

D-T-__D-D-__T-__,[MIDI] D-T-tkD-D-tkT-tk,[MIDI] __T-__D-D-tkT-tk,[MIDI] DDT-__D-D-__T-tk,[MIDI] D-kt-kD-D-kkT-__,[MIDI]
ballasiiq ash-shaamii (16/4)

D-__T-|D-__T-|D-__T-T-|D-DDT-|D-T-T-,[MIDI],=3+3+4+3+3, format note: divided by 2
ballos(greek - smyrni) (4/4)
see: syrto(Greek/Balkans) bambii(egypt) (4/4) [' modern dance rhythm (ala Hossam Ramzy)']
D-Tk-kT-Tk-kD-D-,[MIDI] D-D-D-Tk-kT-Tk-k,[MIDI]
banchakiir (18/8=3+3+2+2+4+4)
see: aàraj al-kabiir
barifshaan at-turki (32/4) baruel (2/4)

['"lively"']
D-_T__T-,[MIDI] D-_T-_T-,[MIDI] DkkTkkTk,[MIDI] D-kT-kT-,[MIDI]
D___|T_|D___|T_|D___|D_T_|D_|D_|T_S_|Tk|Tk,[MIDI],=4+2+4+2+4+4+2+2+4+2+2, format note: divided by 4
barwal (4/8)
D-TkTkTk,[MIDI]
barwal (8/8)
D-T-T-T-D-T-T-__,[MIDI]
bashraaf thaalath(libya) (10/4=3+3+2+2)

D---D---D---__T-D-D-T---D-D-T---T---T-__,[MIDI] D---__D-D-D-T---D-m-T---T---__T-,[MIDI]
bashraaf thaanii(libya) (8/4=3+5) bashraf(algeria) (4/4)

['nuba'] ['nuba']
D-T---T-T---T---,[MIDI]
basiit(morocco) (12/8=4+4+4)
D-_TD-T-T-TkT-TkT-____T-,[MIDI] D-k-D-tkT-k-t-k-D-k-t-k-,[MIDI]
bataa'ihii(algeria) (4/8)
D-T-D-_T,[MIDI]
bayou(egypt) (2/4)
['rAqs sharqYY solo']
D-_DD-T-,[MIDI] D-kDD-S-,[MIDI]
bolero (4/4)
D-kkT-kkTkTkD-T-,[MIDI]
D-k3T-k-T-k-D-k-,[MIDI]
btaa'ihii (8/4=2+3+2+1)
['Touma']
T-k-T-k-D-tkT-k-T-k-D-k-T-k-D-k-,[MIDI]
btaa'ihii (16/4)
D-__T-T-|D-__T-T-|D-__|T-T-T-|__T-__,[MIDI],=4+4+2+3+3, format note: divided by 2
btaa'ihii(morocco) (8/8=3+2+3)
D-_D-TDTD-T-DD-T,[MIDI]
btaa'ihii(tunisia) (8/8=3+2+3)
D-_T__T-__D-T-__,[MIDI]
btaa'ihii(tunisia) (4/4)
D-_T__T-__D-T-__,[MIDI]
buhalla(tunisia) (6/8)
D---__T---T-,[MIDI]
bunawwaara(tunisia) (8/8)
D---T---T-T---T-,[MIDI]
bunawwaratàqrabii(tunisia) (2/4)
DT-_D_T-,[MIDI]
buziiqa(tunisia) (2/4)
TT-_D-__,[MIDI]
chaka (12/8=6+4+2)
see: shaakaa
chetvorno (7/8=3+2+2)
D---t-D---D---,[MIDI]
chochek (4/4=3+3+2)
['should swing']
see: cocek(Romany/Macedonia)
cocek(romany/macedonia) (4/4=3+3+2)
D---t-T---t-T-k-,[MIDI]
curcuna(armenia/turkey) (10/8)
see: jurjina(Eqypt/Afghani) daarij (6/8)
D-T-T-D-T-__,[MIDI] D-TTTTD-T-TT,[MIDI] __T-T-D-D-T-,[MIDI]
daarij (3/4)
D---T-T-T-__,[MIDI] D---____T---,[MIDI]
dahwah(iraq) (4/4)
D---T---D-T---__,[MIDI]
dajchovo(balkans) (9/8=2+2+2+3)
[' (or 9/16)']
D---T---D---T-----,[MIDI] D---T---D---T---t-,[MIDI] last tek is often syncopated D---T---D---T-T-t-,[MIDI] Macedonian/Turkish
daliib(sudan) (3/4)
D3D-Tk_TT-k-,[MIDI]
daluuka(sudan) (3/4)
D---T3T-T3T-,[MIDI] triplets empty in the middle?
darb al-fatih (176/4)
[' "conquering rhythm"']

D___|T_T_|D___|T_T_|T_k_|D___|T_T_|D___|T___|D___|T___|D___|T_k_|D___|T___|D___|T_k_|T_k_|D___|T_k_|T_k_| D___|T___|D___|D___|D___|T_k_|T_k_|D___|T_k_|D_D_|T___|D_T_|D_D_|T___|T_k_|D_T_|T___|D_T_|T___|D_T_| D_D_|T_S_|TkTk,
[MIDI],=4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4 +4+4+4+4+4+4+4+4+4+4, format note: divided by 4
darb al-wasta(yemen) (4/4)

D---T-T---T-T---,[MIDI] D---T-T---T-D---,[MIDI] D---T-D---T-T---,[MIDI]
darb as-sarii'(yemen) (4/4) darij al-awwal(algeria) (8/16)

DT-TD-T-,[MIDI]
darij ath-thaanii(algeria) (4/4)

D---T-T-D---T---,[MIDI]
darij(tunisia) (6/4)
D---D---T---T---T---T-T-,[MIDI]
darij(tunisia) (24/4)
D_T_|D_T_|TTTTT_|T_|T___|T_T_,[MIDI],=4+4+6+2+4+4, format note: divided by 4
darj (4/4) darj (6/8)
['Touma (perhaps flawed)']

__D---D---T-T---,[MIDI]
['Souhail Kaspar']
D-ktk-D-T---,[MIDI]
darj(algeria) (6/8)
D-D-__T-T-__,[MIDI]
darj(morocco) (8/8=4+4)
D-D-TT-TD-D-TT-T,[MIDI] second half varies in ornament
das'a kabiir(yemen) (11/8)

D---T-----T-----T-----,[MIDI]
das'a mutawassit?(yemen) (7/8)

['medium'] ['fast']
D-T---D---T---,[MIDI]
das'a saghiir(yemen) (7/8)

D-----T---T---,[MIDI]
dawaarii (10/8=4+6)
T-D---T-D---T-T-D-__,[MIDI]
dawr al-hindii (7/8=3+4)

D-T-k-D-__T-__,[MIDI] D-TkTkD-TkT-Tk,[MIDI] D-TkTkD---T---,[MIDI] D-__T-D-__T-T-,[MIDI] D-__t-D-__T-__,[MIDI]
dawr al-hindii (7/8=4+3)

D-T-D-T-D-D-T-,[MIDI]
dawr al-kabiir halbii (28/4)

D-T-|D-DDT-T-|D-T-T-|DDT-__|T-__T-__|T-T-|D-__T-T-|D-__T-__|T-T-,[MIDI],=2+4+3+3+4+2+4+4+2, format note: divided by 2 D-T-D-DD|T-T-D-T-|T-__T-__|T-T-D-__|T-T-D-__|T-__T-T-|D-__T-T-,[MIDI] Syria,=4+4+4+4+4+4+4, format note: divided by 2
dawr al-kabiir turkii (28/4)
D-__|D-__T-__|D-T-TkD-|T-__T-__|T-__|D-__D-__|T-__S-__|T-k-T-k-,[MIDI],=2+4+4+4+2+4+4+4, format note: divided by 2 D-__|D-__T-__|D-__TTTk|T-______|T-______|D-__|T-__S-__|T-k-T-k-,[MIDI],=2+4+4+4+4+2+4+4, format note: divided by 2
dawr halbii (12/4=4+4+2+2)

D---____T---k---D---____T---k---D---D---D---____,[MIDI]
dawr rawaan halbii (13/4=3+4+4+2)
D-T-T-D-__D-D-T-__T-__D-__,[MIDI], format note: divided by 2
dawr rawaan mawlawii (14/8=3+4+3+4)

D-____T-__T-__D-D-m-T-__T-__,[MIDI] D-T-k-D-m-T-k-DmD-m-T-k-T-k-,[MIDI]
dawr rawaan sharqii (13/4=3+4+4+2) dawr rawaan turkii (28/4)
D-T-T-DT-TD-T-DT-TD-T-DT-T,[MIDI], format note: divided by 2 DT|D_T_|DT|D_T_|T_|T_|D_|DDT_|D_T_|T_,[MIDI],=2+4+2+4+2+2+2+4+4+2, format note: divided by 4
dawr rawaan turkii awwal (13/4=3+2+4+4)

D-T-k-D-DDT-__T-__T-T-D-__,[MIDI], format note: divided by 2
dawr rawaan turkii thaani (13/4=2.5+4+2+2.5+2)

D-__DD-__T-__D-__DT-T-T-T-,[MIDI], format note: divided by 2
dharaafaat(widespread arabic) (13/8=3+3+4+3)

see: Zaraafaat see: baruel
djerbi(tunisia) (2/4) dkhuul al-barwal(tunisia) (4/4)

D-D-____T---T-T-,[MIDI] ??
duuyek (4/4)
D-t---t-D---T---,[MIDI] D-t-__t-D---T---,[MIDI]
faaht al-warash (10/4=2+4+4)

D---T---D---m---T---T---D---m---T-k-T-k-,[MIDI]
faakhitii (20/8)
['13th c. : SafI al-DIn; KitAb al-adwAr; also RisAla al-sharafiyya ']

T___T_T___T___T_T___,[MIDI] T_T___T___T_T___T___,[MIDI] T_Ttt_Ttt_T_Ttt_Ttt_,[MIDI] RisAla al-sharafiyya
faakhitii (28/8)
['RisAla al-sharafiyya ']

T_T___T___T___T_T___T___T___,[MIDI] RisAla al-sharafiyya T_Ttt_Ttt_Ttt_T_Ttt_Ttt_Ttt_,[MIDI] RisAla al-sharafiyy
faakht (20/4)
D-T-|D-DDT-__|T-__|T-T-|D-__T-T-|D-__T-__|T-T-,[MIDI],=2+4+2+2+4+4+2, format note: divided by 2 D-______|D-__D-__|T-__T-__|D-______|T-__T-__,[MIDI] Egypt,=4+4+4+4+4, format note: divided by 2
faakht' al-àrabii (20/4)

D-T-|D-DD|T-__|T-__|T-T-|D-__|T-T-|D-__|T-__|T-T-,[MIDI],=2+2+2+2+2+2+2+2+2+2, format note: divided by 2 D-__|D-__|T-__|T-__|D-_T-_T-|T-__|T-T-|D-______,[MIDI],=2+2+2+2+4+2+2+4, format note: divided by 2
faakht' at-turkii (20/4)

D-m-|D-D-|T-k-|T-k-|T-k-|D-__|T-__S-__|T-k-T-k-,[MIDI],=2+2+2+2+2+2+4+4, format note: divided by 2
faarsii (5/4)
['?']
D---T-k-T---D---t---,[MIDI]
faarsiia(libya) (3/4)
['Persian origins']
__T-T---T---,[MIDI]
fajjar (11/8=3+8)
D---T-D---T-T-D-D-T---,[MIDI]
fajjarii makhlaafii (6/8=3+3)

see: yuruuk samaaìi fakartii (15/4=4+2+3+3+3)
D-T-T-__D-__D-D-__D-____T-____,[MIDI], format note: divided by 2
fakirah (15/8=3+3+2+2+5)
D-____T-____D-__D-T-D-__T-__T-,[MIDI]
falaahii(egypt) (2/4)
DT_TD_T_,[MIDI] DT_TDT_T,[MIDI] DTkTDkTk,[MIDI]
fan bahrii(kuwait) (8/4=3+2+3)

D---________D---____T---T---D---,[MIDI]
fan hasaawii(kuwait) (4/8)

D-D-__T-,[MIDI]
fan najaddii(kuwait) (6/4=3+3)

D---D---D---T---T---____,[MIDI]
farà (32/4)
D___|T_k_|D___|T___|D_T_|Tk|D_|T_S_|TkTk,[MIDI],=4+4+4+4+4+2+2+4+4, format note: divided by 4
farà turkii(syria) (32/4)

see: farà
farankchiin at-turkii(turkey/syria) (24/4) fast waahida (4/4)

see: waaHida khafiif fast wasta (4/4) see: Darb as-sarii'(Yemen)
D_|D___|D_|D___|T_k_|T_k_|Tk|Tk,[MIDI],=2+4+2+4+4+4+2+2, format note: divided by 4
fezzaani al-baladii(tunisia) (4/4)

see: fezzaani al-beduui(Tunisia)
D-T---T-D-__T---,[MIDI]
fezzaani al-beduui(tunisia) (4/4) fezzaanii al-awwal(libya) (4/4)

['national rhythm of Tunisia?']
D-T---T-D-T-T---,[MIDI] T---t-k-D-__t-__,[MIDI]
fezzaanii al-liibii(libya/tunisia) (4/4) fezzaanii ath-thaanii(libya/tunisia) (8/8=4+4)

D-D---T-__T-T-__,[MIDI]
fezzaanii(tunisia) (4/4)
[' dance music']
D-T---T---T-T---,[MIDI] D-T-T-T-D-T-T-Tk,[MIDI]
first thaqiil (8/4) gankino (11/8)
['Safi-al-Din 13th c.']

D-----D-----D-------D---D-------,[MIDI] D---T---D---k-D---T---,[MIDI] D-k-D-k-T---k-D-k-T---,[MIDI]
ghiita(tunisia) (6/8)
D-D-S---T-T-,[MIDI] D-D-T-__T-T-,[MIDI]
greek tsifteteli(greek) (4/4)

D-kt-kt-D---tk-_,[MIDI] traditional Ddk--kt-D-tkt---,[MIDI] modern DrtktktrDkDktrtk,[MIDI] modern
gubbaahii (2/4)
['sha`bI music']
T-_TT-D-,[MIDI]
gumbahii(algeria) (2/4)
see: gubbaahii haawii (128/4)
D-______|T-__k-__|D-____T-|TkD-T-__|T-__D-__|D-__T-k-|T-k-T-k-|T-k-D-__|D-__T-k-|T-k-T-k-|T-k-D-T-|T-k-|D-T-T__|D-__D-__|D-__T-__k-__|T-__k-__|D-______|T-__k-__|D-__D-__|T-__T-k-|D-__T-__|T-k-|D-__|T-__S-__|T-k-T-k-|D__T-__|T-__T-__|D-__T-__|T-__T-__|D-__T-__|D-__D-__|T-__S-__|T-k-T-k-, [MIDI],=4+4+4+4+4+4+4+4+4+4+4+2+4+4+6+4+4+4+4+4+4+2+2+4+4+4+4+4+4+4+4+4+4, format note: divided by 2
haddaadii(kuwait) (12/8=3+3+3+3)
D-____T-____T-_T-TD-D-T-,[MIDI] D-____T-_T-_D-D-T-D-T-__,[MIDI]
haddaawii (12/8)
____T-__D-____T-__T-D-__,[MIDI] 4+3+3+2 ____T-T-D-____T-__T-D-__,[MIDI] 3+4+3+2 ____T-T-D-__D-T-__T-D-__,[MIDI] 3+4+3+2 D-__T-__D-____T-__T-D-__,[MIDI] 4+3+3+2
hafa(libya) (4/4)
D---T-T-TD-_T---,[MIDI]
hajjà (2/4)
D---T-T-,[MIDI]
hajjaawii(libya) (4/4)
D-T-D-T-T---T---,[MIDI]
halla(tunisia) (6/8)
T-D-__T-T-__,[MIDI]
harbii al-khafiif(sudan) (4/8)

D-T-T-T-,[MIDI]
harbii ath-thaqiil(sudan) (6/8=3+3)

D-D-D-T-T-T-,[MIDI]
harbii(tunisia) (4/4)
D-__T-D-T-__T-T-,[MIDI]
hasajja(egypt/iraq) (6/8)
D-D-T-D-T-T-,[MIDI]
hazaj (6/8)
['13th c. : SafI al-DIn; KitAb al-adwAr']

Ttt_|T_,[MIDI],=1+0 T___|T_,[MIDI] al-aSl,=1+0 Tt_|Tt_,[MIDI] RisAla al-sharafiyya ,=0+0
hazaj (12/8)

Ttt_|Tt_|Tt_|T_,[MIDI] ,=1+0+0+0 T___|___|_T_|__,[MIDI] ,=1+0+0+0
hazaj al-àrabii (22/4) hazaj at-turkii (44/4)
D-T-|D-DDT-T-|D-T-T-__|T-T-|D-T-|D-T-T-T-|D-__T-T-,[MIDI],=2+4+4+2+2+4+4, format note: divided by 2 D-__|D-D-T-__|D-D-T-__|TkTk|D-T-__|D-__D-D-|T-TkTk,[MIDI],=2+4+4+2+3+4+3, format note: divided by 2 D___|D_D_|T___|D_D_|T___|TkTk|D_|T___|D___|D_|T_S_|TkTk,[MIDI],=4+4+4+4+4+4+2+4+4+2+4+4, format note: divided by 4
hiiwa (3/4)
D---T-T-T---,[MIDI]
hiiwah(iraq) (6/8)
D-D---T-T---,[MIDI] D-D-D-T-T-T-,[MIDI]
hrub(tunisia) (3/8)
see: silsila(Tunisia) insiraaf (5/8) [' penultimate nuba phase before khlaS']
D-T-__D-__,[MIDI] 1st bar DDT-__T-__,[MIDI] 2nd bar T-T-D-_D-T,[MIDI]
istabadaa(saudi) (7/8)
D-T---T---T---,[MIDI]
jabaalii(saudi) (4/8)
see: b'Taa'iHii(Algeria) jaluuha(libya) (2/4) see: sariir januubi(qatar) (4/4)

D---D---T---T---,[MIDI]
jerbi(tunisia) (4/4)
D-__T-D-T-__T-T-,[MIDI]
[' dance rhythm; Isle of Jerba']
jerk(egypt/nubia) (4/4)
[' modern Nubian dance rhythm']

D---T---DD--T---,[MIDI] D-kkT-tkDDtkT-tk,[MIDI] D---T---D-D-T---,[MIDI] Souhail Kaspar D-tkG-tkDkDkG-tk,[MIDI] Souhail Kaspar
jiftah (6/4=2+2+2)
D---T---D---D-D-T-k-T-k-,[MIDI]
jiftah duyuk turkii(turkey) (16/4) jiftah duyuk(turkey) (16/4) jiib(qatar) (8/4=3+5) jiirak (4/4)
D---T---D-D-T---,[MIDI] D---TkTkD-D-TkTk,[MIDI] D-D-T-TkD-D-T---,[MIDI] T-T-D---T---T---T---T---________,[MIDI]
D-__|T-______|T-__|D-__D-__|T-__T-k-,[MIDI],=2+4+2+4+4, format note: divided by 2 D-__|T-T-|D-__T-T-|D-T-|D-DDT-|D-T-k-,[MIDI],=2+2+4+2+3+3, format note: divided by 2
jubii(iraq) (8/8)
D-D-D-T-D-__T-T-,[MIDI] D---____D-D-D-T-,[MIDI]
jurjina(eqypt/afghani) (10/8)
D-__T-k-__D-__T-____,[MIDI] 2+3+2+3 D---__T---D---T---__,[MIDI] 5+5
juurjina (10/16)
D-tT-D-T-t,[MIDI]
kalamantiano(greece) (7/8=3+2+2)
[' Kalamata is a port in Southern Greece']
D-t-t-D-t-D-t-,[MIDI] D-----T---T---,[MIDI] D-ktk-D-k-S-k-,[MIDI] D-tkt-D-tkT-t-,[MIDI]
kamilieriko zeymbekiko(greek) (9/4=2+2+2+3)

D---t-k-D---t-k-D---t-k-D---t---t---,[MIDI]
karaatshi(egypt) (2/4)
['']
D-T-TkTk,[MIDI]
karaatshi(egypt) (2/4)
T-__T-D-,[MIDI] T-_kT-D-,[MIDI] TktkT-D-,[MIDI] D-T-__T-,[MIDI] D-T-TTT-,[MIDI] D-T-TTTT,[MIDI]
karaatshii(egypt) (2/4)
see: gubbaahii
karsilama(turkey) (9/8=2+2+2+3)
see: aqSaaq khafiif (12/4=4+4+4)
D---____T---T---T---____T---____T---____________,[MIDI]
khafiif al-àrabii(syria) (32/4) khafiif al-ramal (6/8)

T_|Ttt_,[MIDI] ,=0+1
D-__T-T-|D-__T-T-|D-__T-T-|D-__T-T-|D-__T-T-|D-DDT-T-|D-T-T-|D-T-|D-T-T-,[MIDI],=4+4+4+4+4+4+3+2+3, format note: divided by 2
khafiif al-ramal (12/8)

['RisAla al-sharafiyya ']
T_|Ttt_|T_|Ttt_,[MIDI] ,=0+1+0+1
khafiif al-ramal (10/8)

T_|Tt_|T_|Tt_,[MIDI] ,=0+0+0+0 T_|___|__|T__,[MIDI] al-aSl,=0+0+0+0
khafiif al-thaqiil (16/8=2+2+2+2+2+2+2+2)

T_|Tt|T_|Tt|T_|Tt|T_|Tt,[MIDI]
khafiif al-thaqiil (2/4)

T_|Tt,[MIDI] ,=0+0 Ttt_,[MIDI] RisAla al-sharafiyya
khafiif at-turkii (32/4)

D-T-T-__|D-T-T-__|D-__T-k-|D-T-T-__|D-__T-k-|D-D-T-Tk|D-T-Tk|D-T-S-|TkTk,[MIDI],=4+4+4+4+4+4+3+3+2, format note: divided by 2
khafiif(tunisia) (6/4)
D---____T---T---T---____,[MIDI] D---D-D---T-,[MIDI]
khalaas al-awwal(algeria) (6/8) khalaas ath-thaanii (3/4)

['Andalusian music']
D---T---T-T-,[MIDI]
khaliijii (2/4)
see: saùdii
khamaari(kuwait) (16/8=6+4+4+2)
D-__D-D-D-__D-D-D-__T-__T-__D-D-,[MIDI]
khamaarii (4/8)
D-TkT-T-,[MIDI]
khamriia(qatar) (3/4)
D---D---T-T-,[MIDI]
khatafa(qatar) (16/8=5+2+4+5)
D-T-D-D-T-D-__D-D-D-T-D-D-D-T-__,[MIDI]
khatiim(tunisia) (3/4)
D---T---____,[MIDI]
khatim al-musaddar(tunisia) (6/8=1+4+1)

D-T-T-T-T-T-,[MIDI]
khatim(tunisia) (6/8)
D-T-T-T-T-T-,[MIDI]
khawash ranak (17/8=3+2+4+3+5)

D-__T-D-__D-D-T-__T-T-__D-D-T-__T-,[MIDI]
khlas (3/8)
D-tT-_,[MIDI]
['nuba rhythm']
D-D-TT,[MIDI] Algeria
kopanica(bulgaria/balkans) (11/8)
see: gankino see: gankino
kopanitsa(bulgaria/balkans) (11/8) laf(egypt/levant) (2/4)

D-_T-_T-,[MIDI] DD_T-_T-,[MIDI] D-_T-_TT,[MIDI]
lamaawiismii (15/8=3+2+3+4+3)
D-T-T-D-__D-T-__D-T-T-__D-T-__,[MIDI]
lanak al-faahta (10/8=2+3+3+2)

D-__T-k-__D-T-__T-k-,[MIDI] D-__T-____D-T-__T-k-,[MIDI]
latin (2/4)
D-T-T-TD,[MIDI]
laz bar(greece) (7/8=3+2+2)

see: laz(Greece) laz(greece) (7/8=3+2+2)
D---T---T-----,[MIDI] D-k-D-k-D-k-k-,[MIDI]
laziko(greece) (7/8=3+2+2)
see: laz(Greece)
D-----T---T---,[MIDI]
lesnoto(macedonia) (7/8=3+2+2) makhaalfii(qatar) (4/4)

D---D---T-T-T-__,[MIDI]
makhbuut(sudan) (3/4)
D-D-T---T---,[MIDI]
makhlas(iraq) (2/4)
D---TT-T,[MIDI]
makhlas(morocco) (3/8)
see: khlaS
makhluf(kuwait) (6/8)
D-D-__T-__T-,[MIDI]
malfuuf (2/4)
see: baruel
mannuubiyya(tunisia) (12/8)
D---T---T-T---D---T---T-,[MIDI]
mantiliatos(thrace/trapezounta/trabzon) (7/8=4+3)
['kerchief dance; very fast']
D---t-k-t-t-k-,[MIDI] D-tkt-k-t-t-k-,[MIDI]
maqsuum (4/4)
D-T-__T-D-__T-__,[MIDI] D-T-tkT-D-tkT-tk,[MIDI] D---T---T-D-T---,[MIDI] T-T-T-D-T-T-T-DD,[MIDI] __D---T-D---T---,[MIDI] D-T-k-T-D-k-T-tk,[MIDI] "walking"
marbà(libya) (6/8)
D-__D-T-__T-,[MIDI]
marduum(sudan) (2/4)
D-_TT---,[MIDI]
marrasà ash-shaamii (19/8=4+3+4+6+2)
D---T-T-D-D-T-D---T-T-D---T---T---T-T-,[MIDI] 4+5+4+6 Touma? D-D-T-T-D-DDT-D-__T-T-D-__T-__T-__T-T-,[MIDI] __D-T-T-D-DDT-D-__T-T-D-__T-__T-__T-T-,[MIDI]
marsà (12/4=3+2+3+4)
D---T---T---D---T---D---T---T---D---m---T-k-T-k-,[MIDI]
mashad(tunisia) (8/8=5+3)
D-T-__T-__T-T-__,[MIDI]
masmuudi as-saghiir (4/4)

D-D---T-D---T-__,[MIDI]
masmuudii (8/4)
[' the Masmouda are Berbers who live west of the Rif and Grand and Middle Atlas in Morocco']
D---D---____T---D---____T---____,[MIDI]
masmuudii al-kabiir (8/4=4+4)

D---D---____T---D---____T---T---,[MIDI] D---D---t-k-T-k-D-tktkt-TktkT-t-,[MIDI]
mathalwat(saudi) (4/8)
D-_TT-T-,[MIDI]
medium wasta (4/4)

D-k-k-S-k-k-,[MIDI] D-k-S-k-S-k-,[MIDI]
see: Darb al-wasta(Yemen) moroccan 6 (6/8)
mudaaàf al-ramal (24/8)
['13th c. : SafI al-DIn; RisAla al-sharafiyya ']

Ttt_T_Ttt_T_Ttt_T_Ttt_T_,[MIDI] T_________________T_____,[MIDI] al-aSl
mudawwar (12/4=4+2+4+2)
D---____T---____D---D---D---____________T---____,[MIDI]
mudawwar al-àrabii (6/4=2+4)

D---T---D---D---____T---,[MIDI]
mudawwar al-àrabii (6/4)

D---D---____T---D---T---,[MIDI]
mudawwar al-halbii (12/4=4+4+4)

D---____T---k---D---____T---k---D---D---D---____,[MIDI]
mudawwar al-hawzii(algeria/tunisia) (6/8=3+3)

['Algerian wedding']
D-__D-T-__T-,[MIDI] D-TkD-T-TkTk,[MIDI]
mudawwar al-masrii (12/4=4+2+4+2)

see: mudawwar
mudawwar ash-shaamii (10/4=4+2+4)

D---____T---____D---D---D---____T---____,[MIDI]
mudawwar ash-shaamii (12/4=4+4+4)

D---____D---____D---D---D---____T---k---T---k---,[MIDI]
mudawwar at-turkii (12/4=4+4+4)

D---____T---____D---____T---____D---D---D---____,[MIDI]
mudawwar rubaaìi (14/4=2+4+4+2+2)

see: muHajjar al-maSrii muhajjar (14/4=4+2+4+4) ['muHajjar is "stone mosaic"']
D-D-D-__T-__D-______T-__T-__,[MIDI], format note: divided by 2 D-D-D-__T-__D-_T-_T-T-__T-T-,[MIDI], format note: divided by 2
muhajjar al-àrabii (14/4=4+4+2+3+3)

D-D-D-__T-T-__T-__T-T-__T-T-,[MIDI], format note: divided by 2
muhajjar al-masrii (14/4=2+4+4+2+2)

D-D-D-__T-__D-__T-__T-__T-T-,[MIDI], format note: divided by 2 D-tkD-tkD-tkt_k_T-tkt_k_D-tkt_k_T-tkt_k_T-tkt_k_T---T---,[MIDI]
muhajjar al-musaddar (28/4)
D_|D_|D___|T___|D__|T__|T__|T__|T_T_,[MIDI],=2+2+4+4+3+3+3+3+4, format note: divided by 4 D_D_|D___|T___|D_T_|__T_|T___|T_T_,[MIDI],=4+4+4+4+4+4+4, format note: divided by 4
muhajjar dawlaab maqluub (17/4)

D-D-D-__|D-T-T-|D-__T-__|T-T-|D-__T-T-,[MIDI],=4+3+4+2+4, format note: divided by 2
muhajjar dawlab maqlub (17/8=5+3+4+2+4)

D-D-D-__D-T-k-D-__T-__T-T-D-__T-k-,[MIDI]
mujarrad (5/8)
D---T-D---,[MIDI] D-__T-T-__,[MIDI] Tunisia
mukhammas (16/4=7+3+2+4)
['mukhammas is a type of Persian verse']

D---T---D---____T---____T---T---,[MIDI]
D-__D-__D-_T-_|T-T-__|T-T-|D-______,[MIDI], format note: divided by 2
mukhammas al-àrabii (8/4=4+2+2) mukhammas al-masrii (16/4=2*8)

D-__D-__D-__T-__T-__T-T-D-__T-T-,[MIDI], format note: divided by 2 D-D-D-__T-D-__T-T-D-__T-D-__T-T-,[MIDI], format note: divided by 2 D-__D-__D-______T-__T-__D-______,[MIDI], format note: divided by 2
mukhammas at-turkii(syria) (32/4) murabbà al-beduui(tunisia) (8/8)

D-TkD-T-TkD-T-Tk,[MIDI]
D_Tk|D_T_|D_|D_T_|Tk|D_T_|Tk|D_|T_S_|Tk|Tk,[MIDI],=4+4+2+4+2+4+2+2+4+2+2, format note: divided by 4
murabbà(tunisia) (4/4)
D-TkD-T-T-TkT-T-,[MIDI] T-D___T-D___T-__,[MIDI] bedUi desert form
murabba` (13/4=3+4+2+2+2)
[' murabba` means "square"']
D-T-T-D-_T-_T-T-__T-T-D-__,[MIDI], format note: divided by 2 D-T-__D-_T-_T-T-__T-T-D-__,[MIDI], format note: divided by 2 D-T-__D_T-__T-T-__T-T-D-__,[MIDI], format note: divided by 2 D---T-tkt-k-D-tkT-k-t-k-T-k-T-tkt-k-T-tkT-k-D-tkt-k-,[MIDI] D-T-T-D-__T-__T-__T-T-D-__,[MIDI], format note: divided by 2 D-T-__D-______T-__T-__D-__,[MIDI], format note: divided by 2
murabba` al jazaa'ira (4/4)

see: zaffah
murabba` ash-sharqii (13/4=3+4+4+2)

['\'eastern square"']
D---____T---T---,[MIDI] D-T-__D-_T__T-T-__T-T-D-__,[MIDI], format note: divided by 2
musaddar(algeria) (4/4) musaddar(algeria) (8/8=3+3+2)

T-D-__T-D-__D-__,[MIDI]
musaddar(algeria/tunisia) (6/4=3+3)
D---T-T-T-TTT-T-T---T-T-,[MIDI]
musaddar(tunisia) (12/4=5+4+3) musaddar(tunisia) (12/8)

D-__T-T-T-TTT-T-T-__T-T-,[MIDI]
D---____T---T---T---T-T-T---T---T---____T---T---,[MIDI]
muzzarkaawii(libya) (2/4)
['nuba ']
__TTD-T-,[MIDI]
TTD-__T-,[MIDI] _D-TD-T-,[MIDI]
nabawii(sudan) (6/4) nabawii(sudan) (4/8)

D-_TD-T-,[MIDI]
D-T-D-T-D---____________,[MIDI]
najjama(libya) (7/8)
D-T-D-T-D-D-T-,[MIDI]
naqara (2/8)
D-__,[MIDI] D-Tk,[MIDI] D-T-,[MIDI] DmT-,[MIDI] DmTk,[MIDI] __Tk,[MIDI]
['TAìr = "vanish" or "swing"']
naqash (16/8=3+2+3+3+2+3)
D-____T-__T-T-__D-____D-D-T-____,[MIDI]
naqash al-arbìin (40/4=22+12+6)
['hazaj+mudawwar turkI+mudawwar àrabI']

D-T-|D-DDT-T-|D-T-T-__|T-T-|D-T-|D-T-T-T-|D-__T-T-||D-__T-T-|D-__T-k-|D-D-|D-__|D-||D-__T-|D-T-,[MIDI] ????, format note: divided by 2
naqash as-sitta -u-ath-thalaathiin(syria)
(36/4=8+12+16=4+4+2+2+2+2+2+2+4+2+4+2+4) ['muHammas àrabI+rawAn maSrI+niSf muHammas turkI or muHammas àrabI+rawan àrabI awwal+niSf muHammas turkI']
D-T-D-__|T-__T-T-||D-D-|T-D-|T-D-|DDT-|D-__|T-T-||D-__T-__|D-__|D-D-T-__|D-__|T-k-T-k-,[MIDI], format note: divided by 2 D-T-D-__|T-__T-T-||D-D-|T-D-|T-D-|DDT-|D-__|T-T-||D-T-|D-DD|T-D-|T-T-|D-T-|D-DD|T-D-|T-T-,[MIDI], format note: divided by 2
naqrazaan ar-raba`(saudi) (4/4)

T-TTT-TTD-TT____,[MIDI]
naqrazaan ath-thaalat(saudi) (4/4)

TTT-TTT-TTT-TTT-,[MIDI]
naqsh as-sabàt àshr (syria) (17/4=3+7+5+2)

[' aàraj+nawakht+aghir aqSaq+wAHda']
D-T-k-|D-__T-D-__T-T-|D-T-T-k-Tk|D-Tk,[MIDI], format note: divided by 2
naqsh ath-thamaaniat-àshr (18/4)

D-__T-k-|D-__T-k-|D-D-D-__|D-D-__|T-D-T-,[MIDI],=4+4+4+3+3, format note: divided by 2
nawakht (7/4=3+2+2)
[' Persian "to beat"']
D---____T---D---____T---T---,[MIDI] D---T---____D---D---T---____,[MIDI]
nawakht al-hindii (16/4)
D-D-|D-__T-|D-__T-T-|D-__T-|D-__T-T-,[MIDI],=2+3+4+3+4, format note: divided by 2
nawakht al-hindii (16/8=2+3+4+3+4)

D-D-D-__T-D-__T-T-D-__T-D-__T-T-,[MIDI]
nawwari(syria/lebanon) (4/4)
[' line dances']
-kD-kkG-D-kkG-kG,[MIDI] S-D-kkS-D-kkS---,[MIDI]
neda voda(macedonia) (11/8)

D-tkt-tkD-tkt-tkD-D-__,[MIDI] Macedonian "Porch Song"
niim al-hazaj (14/4=2+2+2+2+2+2+2)

D-T-D-DDT-T-D-T-T-__T-T-D-T-,[MIDI], format note: divided by 2
niim al-khafiif (16/4)

D-T-T-__D-T-T-__D-T-D-D-T-S-TkTk,[MIDI], format note: divided by 2
niim an-nawaakht (7/8=3+4)

D---T-D---T---,[MIDI]
niim dawr kabiir mawlawii (14/4=1.5+1.5+1.5+1.5+3+2+3)

D-TD-TD-TDT-T-T-TkDDTTDDTkTk,[MIDI], format note: divided by 2 D-T-TkD-T-TkD-T-TkD-T---T---T-TkT-k-DmDmTkTkDmDmTkTkT-Tk,[MIDI]
niim dawr(syria) (18/4) niim rawaan (9/4=4+5)
D-T-|D-DDT-T-|D-T-T-|DDT-T-|T-__T-__|T-T-,[MIDI],=2+4+3+3+4+2, format note: divided by 2 D-T-|D-DDT-T-|D-T-T-|DDT-T-|T-k-T-k-|T-T-,[MIDI],=2+4+3+3+4+2, format note: divided by 2 D---D---T---T---D---D-D-T---____T---,[MIDI] D---D---T---T---D---D-D-T---T---T---,[MIDI]
niim thaqiil turkii (48/4)
D___|T_k_|D___|T_k_|T_k_|D___|T_k_|D_T_|Tk|D_|T_S_|T_k_|T_k_, [MIDI],=4+4+4+4+4+4+4+4+2+2+4+4+4, format note: divided by 4
niim uyuun hawaasii (11/8=4+3+4)

D-T-D-__T-T-k-D-__T-__,[MIDI]
nisf muhammas turkii (16/4)

D-__T-__|D-__|D-D-T-__|D-__|T-k-T-k-,[MIDI],=4+2+4+2+4, format note: divided by 2
nisf niim dawr (12/4=2+3+2+3+2)

D---T---D---D-D-T---D---T---D-D-T---k---T-k-T-k-,[MIDI]
noht(egypt/tunisia) (7/4=3+2+2)
see: nawakht
noss al-wahda (4/4)

D---__T---__T---,[MIDI] D-TTTTT-_T-_T-T-,[MIDI] __DDD-T-__DDD-T-,[MIDI] D-T-__T-D---T---,[MIDI] D---____T---____,[MIDI] D---T---t-,[MIDI]
pajdushko(balkans) (5/8=2+3) pousnitsa(serbia/macedonia/greece/rom) (15/16)

['"Greek jazz"']
D-tkD-tkD-kt-t-,[MIDI] Dkt-Dkt-DDkt-t-,[MIDI]
pravo(balkans) (2/4)
D---T---,[MIDI]
[' or possibly in triplets (6/8)']
pravo(balkans) (6/8)
D---D-T---T-,[MIDI] D---T-D---T-,[MIDI]
[' triplets similar to Zonaradikos-- probably in 2/4 normally']
qallaal (4/4)
__T-T-D-T-_TT-D-,[MIDI] ___________TT-D-,[MIDI] intro measure
qantara(morocco) (6/8=2+2+2)
D-T-TT-_T-__,[MIDI]
qatiquftii al-awwal (8/8=3+2+3)

[' Turkish origin'] [' Turkish origin']
D-T-__T-__T-____,[MIDI]
qatiquftii ath-thaani (8/8=3+5)

D-T-T-D-__T-__T-,[MIDI]
qayiim wa nisf(morocco) (8/8=5+3)

D-D-T-_T-_T-T-__,[MIDI] TkTkDtTktkDkDkt-,[MIDI] 3+2+3 Touma writes it this way (rotated?)
qerqenii as-sarii`(tunisia) (2/4)
T-_TD_T-,[MIDI]
qerqenii(tunisia) (4/4)
T-D-__T-D-__T-T-,[MIDI]
quddaam (3/4)
[' Touma']
D-tkt-t-D-t-,[MIDI] D--kt-k-D--t,[MIDI]
quddaam(morocco) (6/8=4+2)
D-D-_TD-_T-_,[MIDI] D-D-D-T---,[MIDI] D-T-D-T-T-,[MIDI] D-T-T---,[MIDI]
raaks al-awwal(sudan) (5/8) raaqs ath-thaanii(sudan) (2/4) rachenitsa(bulgaria/balkans) (7/8)

D---D---D---k-,[MIDI] D---T---T---k-,[MIDI] D---K---D---k-,[MIDI]
radmaan(saudi) (5/4=3+2)
D---__T---T-D---T---,[MIDI]
rahaj (22/4)
D-__|D-__|T-__|D-__|D-__|T-T-|D-_|T-_|T-T-__|T-T-|D-__,[MIDI],=2+2+2+2+2+2+1+1+3+2+2, format note: divided by 2
ramal (12/8)
['13th c. : ']
T_|T_|T_|T_|Ttt_,[MIDI] SafI al-DIn: KitAb al-adwAr; ,=0+0+0+0+1 T_|T_|Ttt_|Ttt_,[MIDI] SafI al-DIn; KitAb al-adwAr; also RisAla al-sharafiyya ,=0+0+1+1 T_|__|__|__|T___,[MIDI] al-aSl; SafI al-DIn: KitAb al-adwAr; ,=0+0+0+0+1 T_|Ttt_|T_|Ttt_,[MIDI] RisAla al-sharafiyya ,=0+1+0+1 Ttt_|T_|Ttt_|T_,[MIDI] RisAla al-sharafiyya ,=1+0+1+0
ramal al-halbii (28/4)
D-__T-T-|D-__T-__|T-T-|D-__T-T-|D-DDT-__|T-T-|D-T-T-|D-T-|D-T-T-,[MIDI],=4+4+2+4+4+2+3+2+3, format note: divided by 2
ramal at-turkii (56/4)

D-______|T-__k-__|D-______|T-__k-__|T-__k-__|D-______|T-__k-__|D-T-TkD-|T-______|T-______|D-__T-__|D-__D-__|T__S-__|T-k-T-k-,[MIDI],=4+4+4+4+4+4+4+4+4+4+4+4+4+4, format note: divided by 2
rambaa (2/4)
D-__T-D-,[MIDI] D-D-TTT-,[MIDI] D-D-TTTT,[MIDI] DttKtKDk,[MIDI]
rannaan (13/4=5+4+4)
D-__T-T-__T-T-D-__D-__T-__,[MIDI], format note: divided by 2
raqsaan (15/8=3+2+3+4+3)
see: lamaawiismii rawaan (14/4=3+3+2+3+3)
D-D-T-D-D-T-D-T-D-DmT-D-T-T-,[MIDI], format note: divided by 2
rawaan al-àrabii al-awwal (12/4)
D---D---T---D---T---D---D-D-T---D---____T---T---,[MIDI]
rawaan al-àrabii ath-thaanii (12/4=4+4+4)

D---____T---____D---D-D-T---T---D---____T---T---,[MIDI]
rawaan ash-shaamii (13/4=4+2+3+4) riyaabiiya(libya) (5/4=3+2)

D---D---T---D---T-T-,[MIDI]
D-D-T-T-D-T-D-DDT-D-__T-T-,[MIDI], format note: divided by 2
ruchenitsa(bulgaria/balkans) (7/8)
see: rachenitsa(Bulgaria/Balkans) rufaaàya(egypt) (4/8)
D-D-T-T-,[MIDI]
rumbaa (2/4)
see: rambaa
sàdaawi(tunisia) (12/8)
D---__T---__D---________,[MIDI] D---D---T-T-D---T-T---T-,[MIDI] D---__T---__D---T-T-T-T-,[MIDI]
sàiidii(egypt) (4/4)
D-T---D-D---T---,[MIDI] __T---D-D---T---,[MIDI]
saùdii (2/4)
D-_D-_T-,[MIDI] D-_D-_TT,[MIDI] DD_DD_T-,[MIDI] D-kD-kTk,[MIDI] DkkDkkTk,[MIDI]
saadaayya (8/4)
D---____T---T---D---T-D-T-D-T---,[MIDI]
saadah ad-duyuk (16/8=8+8)

D-__T-k-T-__k-__D-m-D-__T-__T-k-,[MIDI] D-__T-__T-__k-__D-__D-__T-__T-k-,[MIDI] D---D-__T---,[MIDI]
saamrii al-'awwal(kuwait) (3/4) saamrii al-awwal(saudi) (9/8=4+5)

D---T-T-T-T-T-D---,[MIDI]
saamrii ath-thaalath(saudi) (6/8)

D---T-T-T-T-,[MIDI]
saamrii ath-thaanii(kuwait) (9/8)

D---__D-T3T---____,[MIDI]
saamrii ath-thaanii(saudi) (7/8)

D---T-T-D---T-,[MIDI]
sabamaa (4/4)
D-TkT-TkDmTkT-Tk,[MIDI] D-TkTkT-D-TkT-Tk,[MIDI]
saidi (4/4)
see: baladii al-maqluub saliitaanii(qatar) (10/4)

T-D-D---D---D---____D-T-T---T---T---____,[MIDI]
samaaìi ad-daarij (6/8)

see: daarij see: daarij
samaaìi ad-daarij (3/4) samaaìi ad-daarij(qatar) (6/8=3+3)

see: yuruuk samaaìi samaaìi al-faht (10/8=3+4+3)
D-__T-D-__T-T-D-__T-,[MIDI]
samaaìi al-muzadawaj (20/8=3+2+3+2+2+2+3+3)

D-____T-__T-____T-__D-__D-__T-____T-__T-,[MIDI] D-__T-k-__D-__T-__T-,[MIDI] D---____T---T---____,[MIDI]
samaaìi aqsaaq (10/8=2+3+2+3) samaaìi aqsaaq thaqiil (5/4=3+2)
samaaìi as-saraband(egypt) (3/8)

see: saraband
samaaìi ath-thaqiil (10/8=3+2+3+2)

D-____T-__D-D-T-____,[MIDI] D-____T-__D-D-T-__T-,[MIDI]
samaaìi daarij (3/4)

D---T-T-T---,[MIDI] D---T---K---,[MIDI] D-TkT-D-T---,[MIDI] is this two bars? D-t-t-D-t---,[MIDI] is this two bars?
samaaìi taaiir(tunisia) (3/8)

D-T-T-,[MIDI]
samaah (36/4=12+8+4+8+4)
['Touma']
D-TTD---DDTTD-T---T-DDTTD-T---T-D---,[MIDI], format note: divided by 4
samaah(egypt) (18/8=8+4+6)
D---D---T---T-T-T---D-TTT-T-T-T-T---,[MIDI]
samaah(iraq) (38/8=8+8+8+8+6)
['classical']
D---D---T---T-T-T---D-TTT-T-T-T-T---D-TkT-T-T-T-T---D---____T---T-T-T---____,[MIDI]
sanàa'ii(saudi) (8/8)
D---T-T-T-T-T-T-,[MIDI]
sandasko(bulgaria) (22/16=13+9)
D-t-t-t-.t-t-D-t-.t-t-,[MIDI]
[' a shortened 22(short on 9', '11);non-Bulgarians count 9+9+4']
sankiin as-samaaìi (6/4=3+3)

D---D---T---D---T---____,[MIDI] D---T---T---D---T---____,[MIDI]
saraband (3/8)
D-__T-,[MIDI] D-TTT-,[MIDI] D---T-,[MIDI] DDT---,[MIDI] D---Tk,[MIDI]
sariir (2/4)
D---T---,[MIDI]
sayyidii(egypt) (4/4)
see: baladii al-maqluub [' lengthened 12/8']
D-__D-T-T-,[MIDI]
sedi donka(bulgaria) (25/16=7+7+11)

D--t-t-D--t-t-D-t-t-.t-t-,[MIDI]
shàbaanieh(egypt/iraq) (5/8) shàbii al-liibiya (4/4)

D-_TT-_T___TT-_T,[MIDI]
sha'bia(morocco) (12/8)
['polyrhythm "heart and lung"']

T-K-T-K-D-K-T-K-T-K-D-K-,[MIDI] heart G---D---K-G---K-D-------,[MIDI] lung
shaakaa (12/8=6+4+2)
D-tktkT-tktkD-tkT-tkD-T-,[MIDI]
['modern rhythm; David Korup/Durr']
shabiithii(kuwait) (8/4=4+4)
D---____T---T---D---________T---,[MIDI] D---____T---T-T-D---T---T-T-____,[MIDI]
shakriia(sudan) (5/8)
TTD-T-T-T-,[MIDI]
shanbar (48/4)
D___|T_T_|D___|D_D_|T___|T_T_|T___|D___|T___|D___|T___|T_T_,[MIDI],=4+4+4+4+4+4+4+4+4+4+4+4, format note: divided by 4
shanbar al-halbii(syria) (24/4)
D-T-|D-DDT-__|T-__T-T-|D-__T-T-|D-__T-__|T-T-|D-T-__T-,[MIDI],=2+4+4+4+4+2+4, format note: divided by 2 D-T-|D-DDT-__|T-__T-T-|D-__T-T-|D-__T-__|T-T-|D-__T-T-,[MIDI],=2+4+4+4+4+2+4, format note: divided by 2
shanbar at-turkii (24/4)

D_Tk|D_|DDT_|T_T_|D_|T_S_|TkTk,[MIDI],=4+2+4+4+2+4+4, format note: divided by 4
shanbar madaaànii wa yasmii jiftah shanbar(egypt) (48/4)

D___|T_T_|D___|D_DD|T___|T_T_|T___|D___|T___|D___|T___|T_T_,[MIDI],=4+4+4+4+4+4+4+4+4+4+4+4, format note: divided by 4
shanbar madaaànii wa yasmii shiftah shanbar(egypt) (48/4)

see: shanbar maDaaànii wa yasmii jiftah shanbar(Egypt) shanshaanii (6/8=1+5)
D-T-T-T-T-T-,[MIDI]
sharqiin al-awwal(saudi) (4/4)

D---T-T-T-T-D---,[MIDI]
sharqiin ath-thaanii(saudi) (16/8)

D-D---D---D---__T-T---T---T-_TT-,[MIDI]
shifta yuruk samaaìi (12/8=3+3+3+3)

D-D-T-D-T-T-D-T-T-D-T-__,[MIDI]
shiftaatellii(egypt) (4/4)
D-_T-_T-D-D-T-__,[MIDI] D-_T-_T-D-D-T-Tk,[MIDI] D-_T-_T-D-D-TkTk,[MIDI] D-_T-DT-D-D-T-__,[MIDI] D-TK-KT-D-KkT-kk,[MIDI]
[' Greek/Turkish: Egyptians think of it as "laf"+another 2']
shiftah duyuk turkii(turkey) (16/4)

see: jiftah duyuk turkii(Turkey) shiftah duyuk(turkey) (16/4) see: jiftah duyuk(Turkey) shiiltoh(persia?) (7/8)
D-tktkD-tkt-tk,[MIDI] messed up? possibly should be a 6?
shiishtosh(persia) (6/8)
['should "swing"']
D-ktk-D-t---,[MIDI] T-ktk-D-t---,[MIDI]
shuush (5/8)
D-tkk-D-T-,[MIDI]
silsila al-musaddar (6/4=3+3)

['silsila == "chained"']
D-T-T-,[MIDI] D---T-T-T---T---T---____,[MIDI]
silsila(tunisia) (3/8) sitt 'àshra halbii (16/4)

D-T-|D-T-|D-T-|D-DDT-|D-T-T-|D-__T-k-,[MIDI],=2+2+2+3+3+4, format note: divided by 2
sitta àshr al-masrii (32/4) sittat-àshr masrii (32/4)
D_T_|D_T_|D_T_|D_|D_T_|D_T_|T_|D___T_T_,[MIDI],=4+4+4+2+4+4+2+8, format note: divided by 4 D-__T-__|D-__T-__|D-__T-__|D-__|D-__T-__|D-__T-__|T-T-|D-_T-_|T-T-__|T-T-, [MIDI],=4+4+4+2+4+4+2+3+3+2, format note: divided by 2 D_T_|D_T_|D_T_|D_D_|T_D_|T_T_|D___|T_T_,[MIDI],=4+4+4+4+4+4+4+4, format note: divided by 4
slow waahida (4/4)
see: waaHida sayyaara sombati (4/4) ['tAqasIm or vocals; similar to maqsUm -- different accent']
D---T-T-D---T---,[MIDI] D--kTkT-D-kkT-tk,[MIDI]
sousta(greek - aegean islands and crete) (2/4)

['line dance']
D-tkt-t-,[MIDI] D-tkD-t-,[MIDI]
sufyaan (2/4)
D-__D-T-,[MIDI]
sufyaan (4/4)
D---____T---T-k-,[MIDI]
sufyaan at-turkii (12/8)

D-____D-____D-____D-____,[MIDI] DT-TT-DT-tT-T-,[MIDI]
sufyaan(algeria) (7/8=3+4) suufyaan(algeria) (19/8=7+7+5)

['muwashashat']
D---T-D---T-T-D---T-D---T-T-D---TkT-T-,[MIDI]
suuga(tunisia) (4/4)
D-__T-T-____T-T-,[MIDI]
swat al-àrabii(kuwait) (12/8=7+5)
D---____T---__D---__T---,[MIDI] D-------T-----D-d---T---,[MIDI] D-k-t-k-T-k-t-D-d-k-T-k-,[MIDI] -D-k-t-k-T-k-t-D-d-k-T-k,[MIDI] a second part out of phase
swat al-khaliij (3/4)

D-_T-_T-__D-__T-,[MIDI] D-_T-_T-D---T---,[MIDI] D-_T-_T-D-DDT-TT,[MIDI]
see: yuruk as-samaaìi swat ash-shaamii (4/4)
swat(kuwait) (8/8=3+2+3)
D-____T-__D-____,[MIDI] D---T-T---D--TT-,[MIDI] Touma?
syrto(greek/balkans) (4/4)
['very popular greek rhythm']
D---k-D---k-T---,[MIDI] D---k-T---k-T---,[MIDI] D-t-k-T-t-k-T-k-,[MIDI] "gypsy"
taaìr (2/8)
see: naqara
taar al-kabiir(saudi) (4/4)

['"big drum"']
T-T-T-T-T-T-T-T-,[MIDI]
taar al-matwasit(saudi) (4/4)

TKD-TD-_TD-_TD-_,[MIDI] D---D---D---____,[MIDI] D-D-T_T-,[MIDI]
tabiila(libya) (4/4) tabl(libya) (4/8) tadariij(libya) (5/4=2+3)

D-T-D-T-T---D---T---,[MIDI]
takhtiim(saudi) (3/4)
D-T---T---T-,[MIDI]
tamalkiit(libya) (4/8)
D-T-DT-_,[MIDI]
taras (12/4=3+3+4+2)
D---____T---D---____T---D---____T---T---D---T---,[MIDI]
thaqiil (96/4)
D___|T_k_|D___|T_k_|T_k_|D___|T_k_|D___|T___|T___|D___|D___|T___|D___|T___|T___|D___|T_k_|D_D_|T_Tk| D_T_|TkD_|T_S_|TkTk,[MIDI],=4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4+4, format note: divided by 4
thaqiil al-awwal (16/8=3+3+4+2+4)

Tt_|Tt_|Ttt_|T_|Ttt_,[MIDI] ___|___|T___|__|T___,[MIDI] al-aSl (the basis) ___|___|__T_|__|T___,[MIDI] al-aSl (the basis)
thaqiil al-ramal (20/8)

Ttt_|Ttt_|T_|T_|T_|T_|T_|T_|Ttt_,[MIDI] ,=1+1+0+0+0+0+0+0+1 T___|____|__|__|__|__|__|T_|____,[MIDI] al-aSl,=1+1+0+0+0+0+0+0+1
thaqiil al-thaaanii (8/8)

Tt_Tt_Tt,[MIDI]
thaqiil al-thaaanii (16/8)

Tt_|Tt_|T_|Tt_|TT_|T_,[MIDI] ,=0+0+0+0+0+0 T___________T___,[MIDI] al-aSl (the basis)
thurayya (5/8)
D-ttD-t-,[MIDI] D-t-T--t,[MIDI] D-ttD-t-,[MIDI] D-t-T---,[MIDI]
see: àraj at-turkii
triti puti(balkans) (2/4)
tsamiko(greek) (6/8)
['the Greek national hymn goes to this rhythm; slow-quick-quick']

D-tkT-t-D-t-,[MIDI] 4+2 D-tkT-D-t-k-,[MIDI] 3+3 variation from Epirus D--kT-k-T-k-,[MIDI] arab-ish version
tuq al-musaddar(tunisia) (6/8)

D-TTT-T-T-__,[MIDI]
tuq(tunisia) (3/4)
D---T-T-T---,[MIDI]
turk as-samaaìi as-sarii` (3/8)

D-T-T-,[MIDI] D-TkT-,[MIDI] D-T-Tk,[MIDI] D-D-T-,[MIDI] D-TkTk,[MIDI]
turk assamaaìi (3/4)
see: yuruk as-samaaìi turk zarb(syria) (29/4)
D___|T_T_|D_T_|D_|DDT_|DTk|D_T_|D_TT,[MIDI],=4+4+4+2+4+3+4+4, format note: divided by 4
turkish 5 (5/4) turrah (21/4)
D---k---t---k---t---,[MIDI] D-DD-_|T-T-|D-T-__|T-T-|D-DDT-__|T-T-|D-T-T-|D-__,[MIDI],=3+2+3+2+4+2+3+2, format note: divided by 2 D-TD-_|T-T-|D-T-__|T-T-|D-DDT-__|T-T-|D-T-T-|D-__,[MIDI],=3+2+3+2+4+2+3+2, format note: divided by 2
D-DD__|T-T-|D-T-__|T-T-|D-DDT-__|T-T-|D-T-T-|D-T-,[MIDI],=3+2+3+2+4+2+3+2, format note: divided by 2
unnamed 14 (14/4)
['Souhail Kaspar'] ['?']
D-tkt-t-tkt-T-tkt-t-D-tkt-t-T-tkt-t-tkt-D-tkt-t-tkt-t-k-,[MIDI]
unnamed greek 7 (7/8)

DkkDkDkDktkTkt,[MIDI]
uyuun hawaasiiyy (11/4=2+2+3+4)

D---T---D---____D---T---k---D---____T---____,[MIDI]
vals (3/4)
see: yuruk as-samaaìi vox(egypt) (2/4) ['modern Egyptian classical rhythm (ala Mohammed Abdel Wahab) probably westinfluenced; could vox == fox == foxtrot??']
D---T-K-,[MIDI]
w'albàd yasmiiya haawii (128/4)

see: haawii
waahed w' al-àshriin(syria) (21/4=12+9=4+4+4+4+2+3)

['nIm warash+nIm rawAn'] see: duuyek
D-__T-__|D-DDT-T-|D-__T-T-||D-D-T-T-|D-DD|T-T-T-,[MIDI], format note: divided by 2
waahid al-maqsuum(kuwait) (4/4) waahid al-maqsuuma(kuwait) (4/4)

see: duuyek waahida (4/8)
D---D-M-,[MIDI]
waahida khafiif (4/4)

D-Tk-kT-Tk-kT-k-,[MIDI]
waahida sayyaara (4/4)

D-------D---T---,[MIDI]
waahida(kuwait/iraq) (4/4)
D---__T-____T---,[MIDI]
wahd al-makalafa (4/8)

D-__T-k-,[MIDI]
wahd' al-basiita (2/4)

D-__T-T-,[MIDI] D-D-T---,[MIDI] D-D-T-T-,[MIDI] D---TkTk,[MIDI]
wahd' al-kabiira (4/4)

D-TT_TT-D-T-T-__,[MIDI] D-_T-_T-D-T-T-__,[MIDI] D---T---T---T---,[MIDI]
wahd' al-maqsuuma(kuwait) (4/4) wahd' al-maqsuuma(kuwait) (4/4)

D---T---T---T---,[MIDI]
wahd' al-matusta (4/4)

D---T-T-T---T-T-,[MIDI]
wahd' as-saa'iira (2/4)

see: waHd' al-basiiTa
D-_T--T-,[MIDI]
wahd' as-saghiira(tunisia) (2/4) wahd' at-tawiila(iraq) (8/8)

D-T-__T-D-D-T-__,[MIDI]
wahda al-shamiin(lebanon) (2/4)

see: baruel ['Beduin']
wahraani (8/8=3+2+3)
DD__T-DD_T__T-T-,[MIDI]
walking masmuudii (8/4=4+4)

D---D---D---T---D-tktkt-TktkT-t-,[MIDI]
warash(syria) (26/4)
D-T-|D-DDT-__|T-T-k-|T-T-|D-T-T-|D-__T-__|T-__|T-T-|D-T-__T-,[MIDI],=2+4+3+2+3+4+2+2+4, format note: divided by 2 D-T-|D-DDT-__|T-T-k-|T-T-|D-T-T-|D-__T-__|T-__|T-T-|D-__T-k-,[MIDI],=2+4+3+2+3+4+2+2+4, format note: divided by 2
warshaan al-àrabii (32/4)

D-______|T-__|D-______|T-__|D-_T-_|T-T-__|T-T-|D-__D-D-|T-_T-_|T-T-__|T-T-, [MIDI],=4+2+4+2+3+3+2+4+3+3+2, format note: divided by 2 D___|T_|D___|T_|D___|T_T_|D_DD|T___|T_T_,[MIDI] Egypt,=4+2+4+2+4+4+4+4+4, format note: divided by 4
yamani? (8/8)
['accompanies end of sawt poem']

--t---D---t-m---,[MIDI]
yugrig? (12/8)
['accompaniment for maqam jabburi']

D---t-k-T---t-d-T-------,[MIDI] ----------------T-------,[MIDI] spacey variation D-------T-------T---d---,[MIDI] spacey variation D-------------d-----d---,[MIDI] spacey variation
yukruk al-ìraaqii(iraq) (12/4)

D---____T---T---T---____D---T---T---____________,[MIDI]
yukruk(egypt) (12/4)
D---____T---T---T---____T---D---T---____________,[MIDI]
yuruk (3/4)
see: daarij
yuruk as-samaaìi (3/4)

D---T---T---,[MIDI] D---T-T-T-T-,[MIDI] D---T-D-T---,[MIDI] D---____T-T-,[MIDI] D-__D-D-D-T-,[MIDI]
yuruuk samaaìi (6/8=3+3)

['Turkish origins']
D-T-T-D-T-__,[MIDI]
zaffah (4/4)
['Egyptian wedding processional']

D-tkt-t-D-t-t---,[MIDI] D-tkt-t-D-t-t-tt,[MIDI] D-tkt-t-D-t-D---,[MIDI] D-D-D-t-tktkt-t-,[MIDI] Hossam Ramzy
zaqaayarii(libya) (12/4=3+3+6)
D-D-T---T---D-D-T---____D-D-T---T---T---T---D---,[MIDI]
zar (3/4)
D---t-k-t-k-,[MIDI] D---D---t---,[MIDI]
zar(egypt) (4/8)
see: ayyuub(Egypt) zaraafaat (13/8=3+3+4+3)

D-____T-____D-__D-D-T-____,[MIDI] D-tkt-D-tkt-T-tkD---T---tk,[MIDI] Souhail Kaspar
zarfakand (11/4=2+2+3+2+2)
D---____T---____D---D---____T---____T---____,[MIDI]
zendalii (6/8)
D-D-TTD-TTTT,[MIDI]
zenkov(russia/central asia) (21/8=9+7+5=2+2+2+3+2+2+3+2+3)

D---T---D---T---k-D-k-D-k-T---k-D---T---k-,[MIDI]
zeybek(greek) (9/4)
see: zeymbekiko(Greek) zeybekiko(greek) (9/4) see: zeymbekiko(Greek) zeymbekiko(greek) (9/4)

D-t---t-D-t-----D-t---t-D-t-----T---,[MIDI]
zinjiir at-turkii (120/4=16+20+24+28+32)
['jiftah duyuk turkI+fAHta+shanbar turkI+dawr kabIr+barifshAn turkI']

D-__|T-______|T-__|D-__D-__|T-__T-k-||D-__|D---D---|T-__|T-__|T-__|T-__S-__|T-k-T-k-||D-__T-k-|D-__|D-D-T-__|T__T-__|D-__|T-__S-__|T-k-T-k-||D-__|D-__T-__|D-__TkD-|T-__T-__|T-__D-__D-__|T-__S-__|T-k-T-k-||D-______|T-__|D______|T-__|D-______|D-__T-__|D-__|D-__|T-__S-__|T-k-T-k-,[MIDI], format note: divided by 2 D---T-------T---|D---D---|T---T-k-|D---D-D-|T---T---|T---D---|T---S---|T-k-T-k-|D---T-k-|D---D-D-|T---T---|T---D---|T--S---|T-k-T-k-|D---D---|T---D-T-|TkD-T---|T---T---|D---D---|T---S---|T-k-T-k-|D-------|T---D-------T---|D-------|D---T---| D---D---|T---S---|T-k-T-k-,[MIDI] Syria, format note: divided by 2
zonaradikos(greece) (6/8)
D---T-T-T-T-,[MIDI]
Q: So where are more rhythms? Rhythm Collection

I notice there is a tendency for beginning drummers to want to quickly "collect" as many rhythms as they can. (Hey, I did it too.) Let me point out that it is not the number of rhythms you can play, it's more about being able to communicate clearly with the vocabulary you have. Some of the "best" Middle Eastern drummers usually play only a couple of rhythms. Most songs are to basic rhythms of 2, 4, 6 or 8. The art of Middle Eastern drumming is in doing the most with what you have -- playing perfectly and precisely -ornamenting the rhythm appropriately -- making all of the sounds that your instrument can make pleasingly.
Okay, that said: here is a list of a whole bunch of Middle Eastern and Mediterranean rhythms.
Q: What's the earliest documented rhythm?A Brief Analysis of Historical

Sources
Here is a page with some historical artistic representations of various Middle Eastern drums.
Here is a page with notes for a class I taught on documenting rhythmic modes in pre1600 Middle Eastern music. One of the earliest surviving sources on Middle Eastern music theory is the "Kitab alAghani" (Book of Songs) by "Abu al-Faraj Ali of Esfahan"; it was written in the early 10th century -- unfortunately the technical sections on music and rhythm theory are completely in decipherable. In the 13th century, SafI-al-DIn wrote two books, apparently about 50 years apart: the "Kitaab al-adwaar" and "Risaala al-sharafiyya". These texts contain a great deal of technical information on musical theory and are practically the only such sources available until much later in history. He is apparently the first to use the term "dawr" to refer to the rhythmic cycle and the first to discuss it in any depth. In "Kitaab al-adwaar" chapter 13 is devoted to rhythmic modes. SafI-al-DIn lists eight rhythmic modes with variations. The "Risaala" also mentions seven of the same rhythms
and adds another. The way he describes the rhythms is in terms of segments (feet) of long and short syllables. He notes that some beats may optionally be played, presumably at the discretion of the musician, and others are fixed. There is little or no evidence about how these rhythms were applied specifically to percussion instruments. In "Kitaab" he gives a "basis" for each rhythm (al-aSl) but this was probably based on his own form of analysis rather than common practice since it seems of limited use and he later seems to deprecate the notion in "Risaala". Notice the variations mentioned between the two works have very different basic cycle lengths. For the cycles that are even-divisions or multiples of each other one might imagine that the short rhythm is simply stretched by a factor of two to fill the space. There are many cases where his rhythm notations for song examples don't add up. Part of this seems to be the habit of not specifically mentioning the length of a note when it is a repeated note of the same tone as the previous. This makes it nearly impossible to reconstruct his examples with any (rhythmic) accuracy and leads one to suspect we may not be able to interpret any of the modes with certainty. Here are the rhythmic modes he mentions (pay no attention to the distribution of notes versus rests -- it was not Safi-al-Din's -- I've had to make it at least plausible to render in modern notation): al-thaqiil al-awwal 16/8=3+3+4+2+4
1-+-2-+-3-+-4-+-| Tt_Tt_Ttt_T_Ttt_| [MIDI] ______T-____T___| [MIDI]al_aSl (the basis) ________T___T___| [MIDI]al-aSl (the basis) al-thaqiil al-thaanii 16/8=3+3+2+3+3+2 1-+-2-+-3-+-4-+-| Tt_Tt_T_Tt_TT_T_| [MIDI] T---________T___| [MIDI]al-aSl (the basis) al-thaqiil al-thaanii 8/8 1-+-2-+-| Tt_Tt_Tt| [MIDI] khafiif al-thaqiil 16/8=2+2+2+2+2+2+2+2 1-+-2-+-3-+-4-+-| T_TtT_TtT_TtT_Tt| [MIDI] khafiif al-thaqiil 2/4=2+2 1-+-| T_Tt| [MIDI] Ttt_| [MIDI]Risaala al-sharafiyya thaqiil al-ramal 20/8=4+4+2+2+2+2+2+2+4 1-+-2-+-3-+-4-+-5-+-6-+-| Ttt_Ttt_T_T_T_T_T_T_Ttt_| [MIDI] T-________________T-____| [MIDI]al-aSl al-ramal 12/8 1-+-2-+-3-+-| T_T_T_T_Ttt_| [MIDI]Safii al_Diin: Kitaab al-adwaar; T_T_Ttt_Ttt_| [MIDI]Safii al-Diin; Kitaab al-adwaar; also Risaala al-sharafiyya T-______T___| [MIDI]al-aSl; Safii al-Diin: Kitaab al-adwaar; T_Ttt_T_Ttt_| [MIDI]Risaala al-sharafiyya Ttt_T_Ttt_T_| [MIDI]Risaala al-sharafiyya khafiif al-ramal 10/8=2+3+2+3 1-+-2-+-3-| T_Tt_T_Tt_| [MIDI] T______T__| [MIDI]al-aSl khafiif al-ramal 12/8=2+4+2+4 1-+-2-+-3-+-| T_Ttt_T_Ttt_| [MIDI]Risaala al-sharafiyya version khafiif al-ramal 6/8=2+4 1-+-2-| T_Ttt_| [MIDI] muDaaàf al-ramal 24/8 1-+-2-+-3-+-4-+-5-+-6-+-| Ttt_T_Ttt_T_Ttt_T_Ttt_T_| [MIDI] T-________________T-____| [MIDI]al-aSl al-hazaj 12/8=4+3+3+2
1-+-2-+-3-+-| Ttt_Tt_Tt_T_| [MIDI] T-______T-__| [MIDI] al-hazaj 6/8=4+2 1-+-2-| Ttt_T_| [MIDI] T-__T_| [MIDI]al-aSl Tt_Tt_| [MIDI]Risaala al-sharafiyya version al-faakhitii 20/8 1-+-2-+-3-+-4-+-5-+-| T-__T_T-__T-__T_T-__| [MIDI] T_T-__T-__T_T-__T-__| [MIDI] T_Ttt_Ttt_T_Ttt_Ttt_| [MIDI]Risaala al-sharafiyya version al-faakhitii 28/8 1-+-2-+-3-+-4-+-5-+-6-+-7-+-| T_T-__T-__T-__T_T-__T-__T-__| [MIDI]Risaala al-sharafiyya variation in 28 T_Ttt_Ttt_Ttt_T_Ttt_Ttt_Ttt_| [MIDI]Risaala al-sharafiyya variation in 28
Q: Where else can I read about Middle Eastern rhythm history?

( Bibliography ) Check the bibliography of my notes for a class I taught on documenting rhythmic modes in pre-1600 Middle Eastern music. Here's a bibliography from the Encyclopedia Britannica. If primarily read English (like me), you are not going to find much on this subject. Henry George Farmer has a number of books on Arabic music history and theory (some of them in English). He does not present much about rhythm -- as I mentioned there is apparently not a lot to find. Jean During (a modern westerner who studies traditional Persian music) has written about Persian music theory in both English and French. "The Art of Persian Music" is sort of a coffee table book but contains a bit of interest about Persian rhythm tradition as well as good overview of Persian music. There is a book "The Music of the Arabs" by Habib Hassan Touma -- he includes some rhythmic mode definitions, although I'm leery about a few of his rhythmic notations. He also includes historical notes about music development. The Modal System of Arab and Persian Music AD 1250-1300(O. Wright, 1978) has a brief analysis on what is to be found about rhythmic modes in historical works from 13th century. Also it has a mind-numbing amount of analysis of melodical modes, if you are into that sort of thing. Interesting note: I've seen references to Persian translations of this book referenced by Persian authors writing about Persian music. Reading French may help in studying first sources as Rodolphe von Erlanger translated many parts of historical works in Arabic in his many volumed "La Musique Arabe". Herman Rechberger is a Finn who studies Arabic music (speaks Arabic) and has apparently traveled a good deal in the Middle East has a web version of his book on Arabic rhythmic modes here -- it is very interesting, however I find the rhythmic notation on the web page almost impossible to read. This is corrected in the hard copy of the book (which I have finally managed to get) and he also adds fixed space textual notation (possibly inspired by this page and e-conversing with me), and a couple of short discussions of the rhythmic mode usage in a couple of classical musical families. Here are a few web links:
Persian Traditional Music Turkish Traditional Music
If you do find any good sources, do let me know!
Mas'ud al-Sha'ir's
Quick and Dirty Guide to Middle-Eastern Rhythms

Page 1 Rhythm Name Variation Rhythm Notation
1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a
Bridge
&a tk
Beladi 4/4 (480K)
Ayoub 2/4 (1.2M)
Masmoodi 8/4
Timing D D t D T |D D T D T Open D D tkt D tkT |D D tkT D tkT Standard DkD tktkD tkT |DkD tktkD tkT Busy Closed w/brdg DkDktktkDktkTktk|DkDktktkDktkTktk 1e&a2e&a|1e&a2e&a Timing Open(50K) D D |D D Simple(50K) D t D t |D t D t Standard(96K) D tkD t |D tkD t Busy(135K) DktkD t |DktkD t Closed(55K) DktkDktk|DktkDktk 1e&a2e&a3e&a4e&a5e&a6e&a7e&a8e&a Timing D D tktkT D tktkT tktkT Turkish D D tkt T D tkt T tkt T Arabic D tkD tktktkT tkD tktkT tktkT Busy DktkDktktktkTktkDktktkTttktkT Closed D D D tkT D tktkT tktkT 3 Doum
None (50K) (50K) (96K) (135K) (55K)

&a tk
D -> Doum - Played by holding fingers together and striking the center of head T -> Tek with the Primary Hand on the rim of the drum where the head meets the rim. K -> Tek with the Secondary Hand on the rim of the drum where the head meets the rim. [T T T T T] -> Slide edge of secondary hand across head as teks are played
The Rhythms
Please remember - there are many, many variations in fill and accent. These are only a starting point.
Karshlama (Greek - Karsilamas). (9/8)

Probably the most commonly played "Odd Meter" in the Doumbek world. 2-2-2-3. Check out a Real Audio sample of a Gypsy Karshlama variation from the Farabi album, Taverna. 2223 D-tkT-tkD-tkTTT 1-2-3-4-5-6-789 Gypsy variation D-tkD-tkT-tktkTT 1-2-3-4-5-6-7-89
Laz (or ?) (7/8)

A great 7/8, generally played pretty fast (through to blazingly fast). 223 DkDkT-k 1234567
Devra Hindi (7/8)

Another 7/8, different feel, usually a bit slower. 322 D-kDkT1234567
Curcuna (pronounced "Jurjuna") (10/8)

A really great 10/8, popular in Armenian music. It should swing like a 6/8. 3223 D-kTkD-T-k 12345678910
Kopanitsa (11/8)
A Bulgarian 11/8, it's almost like taking the two 7/8's above and looping them through each other. Usually played really fast (it's a Bulgarian thang). 22322 DkDkT-kDkT 1234567891011
Finally, just for fun, Zenkov (21/8)

A wild Russian dance rhythm, this can be thought of as a 9/8, a 7/8, and a 5/8 all strung together 222322323 D-T-D-T-kD k D k T - k D - T - k 123456789101112131415161718192021
Rhythm notation key

You are here: Home > Drummer's guide > (here)
Accompanying dancers Buying a riq
Updated: 22-JAN-03
Learn how to make specific drum sounds on goblet-shaped drums like the doumbek and learn drumming rhythms by counting. CONTENTS > Notation key / How to make specific drum sounds
> Go with the flow > Counting the rhythms > Difficulty ratings!
Notation key / How to make specific drum sounds
D = "Doum" T = "Tek" K = "Ka" M = "Muffle" r = "Roll" P = "Pop" S = "Snap" G = "Grab" c = "Clap" "Spray" "Thump"
With your main hand, fingers held closed and flat, hit the center, allow echo. Also called "Dum" or "Dom". With your main hand, using 1 to 3 fingers, hit near the edge for a high pitch. Also called "Tak". Like Tek, but with your other hand. Press on the drum head with one hand, play a flat Doum with the other hand, no echo. Also called a Slap. Make two or more very quick Tek or Ka hits in a single beat. I use these sequences with my fingerpads or fingernails: 2-1, 2-1-2, 3-2-1, 3-2-1-2, 3-2-1-3, and so on. Press near the center of the head with one hand, play Tek or Ka with the other. Vary the pitch by changing the hand placement and pressure on the drum. Less distance between hand and edge gives a higher pitch. Snap finger with thumb on edge (as for Tek/Ka). This one isn't in my repertoire, but I've seen others do it. It's also a standard stroke for frame drum. A quick open hand grab on edge of drum. Also not in my repertoire. Clap your hands! Once. Use your thumb to flick your fingernails in succession in a roll near the center of the head, usually starting with the third (ring) or fourth (shortest) finger. Use your thumb to flick your first or second finger to hit near the center of the head. Change the sound by changing the finger followthrough, palm orientation, and so on.
When used, the lowercase letters (d, t, k) indicate a softer sound. Lowercase = softer. Right... well, rolls are an exception: lowercase r is used to help distinguish it from uppercase P (for Pop). Also, substitute Tek for Ka and vice versa if that works better for you.
Go with the flow

Change what you play to fit or complement the situation. Please keep in mind that the notations in this guide are just suggestions. Many, many variations are possible for any given rhythm.
Counting the rhythms

For each rhythm, I've assigned a number of "beats" or "counts". For me, this works better than seeing notes on a staff, which puts my mind into singing mode! What I call a "4/8-count rhythm" is one that can be played while you count from 1 to 4 or from 1 to 8 before the rhythm repeats. Experienced musicians should be able to take such a rhythm and also play it using sixteen counts (which would be very slow) or two counts (which would be very fast). Here's an example using a rhythm I've heard called Maqsum.
2-count 1-&-2-&DT-TD-T-
4-count 1-&-2-&-3-&-4-&D T - T D - T -
8-count 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D T - T D - T -
16-count 1-2-3-4-5-6-7-8 1-2-3-4-5-6-7-8 D - T - - - T - D - - - T - - -
To me, the 4-count and 8-count versions are easiest to use. As you can see, it's the same rhythm, just in different scales of time.
Difficulty ratings
For each rhythm and variation, I list a difficulty rating based on count length, hand motion, memorability and syncopation/"choppiness". The ratings (and other bits of information) are in square brackets [] and come in five levels: easy, easy-medium, medium, medium-tough, tough. "Easy" rhythms are quick to learn, memorable and short. "Tough" rhythms can take a while to learn - and re-learn. Kudos to Javaria for her generous assistance with this!
Base-2 hand drumming rhythms

Notation key Buying a riq Accompanying dancers
Updated: 17-JAN-03
This page has notation and difficulty ratings for hand drumming rhythms (mostly Middle Eastern) that can be done in four or eight counts. Part of Kamuran's Guide for Doumbek Players.
"ARABIC" [easy] 1-+-2-+-3-+-4-+D T D tk T tktkD D k D k T k - k == [easy-medium, syncopated] AYOUB / AYUB / AYUBE / AYUUB / AYYUB / ayyuub [easy, Egyptian] 1-+-2-+-3-+-4-+D t D t == Mas'ud: simple D tkD t == Nott D kkD k D tkD D D tkd d D TTD T == Mas'ud: "Zar" == Steve: "Zar" #1; also see the base-3 Zar == Jas: open Sombati
D -kD K
== Jas: simple
also: [easy-medium] 1-+-2-+-3-+-4-+DktkD t == Mas'ud: busy also: [medium] 1-+-2-+-3-+-4-+D kkD G == Jas: classic D kkd G == Nott D tkd G == Steve: "Zar" #2 BAYOU [easy, some syncopated, Egyptian, modern?] 1-+-2-+-3-+-4-+D--DD-TD - k D D - G - == [medium] KARATCHI / karAtshi [easy] 1-+-2-+-3-+-4-+D kkT D == Nott T kkT D == Jas TktkT D == Jas TAYIR (Naqrah) [medium] 1-+-2-+-3-+-4-+D S WAHIDA / WAHIDAH - also Wahda, Wahdah [easy-medium] 1-+-2-+-3-+-4-+D - D M D t k t k t k == [easy] WAHIDA SAYRAH / WAHIDA SAYIRAH [easy, think Native American] 1-+-2-+-3-+-4-+D - t t == Nott D - T K == Jas For rhythms that can be done in four or eight counts, see the Base-4 page. Rhythms: Base-2 | Base-3 | Base-4 | Base-5 | Base-6 | Base-7 | Base-8 | Base-9 | Base-Prime

Updated: 22-JAN-03
This page has notation and difficulty ratings for hand drumming rhythms (mostly Middle Eastern) that can be done in three or six counts. Part of Kamuran's Guide for Doumbek Players.
CANTIGA 18 [easy-medium, 3 or 6 count, from me] 1-+-2-+-3-+-4-+-5-+-6-+T K T tktkD ** This is a rhythm I have used to play #18 from the "Cantigas de Santa Maria". "ELEPHANT" [easy-medium, 6 count, syncopated, African?] 1-+-2-+-3-+-4-+-5-+-6-+D - d K - K D - d K t K D k T K - K extensions: [medium-tough] 1-+-2-+-3-+-4-+-5-+-6-+D k t k t L T k t k t K == L for left-handed Doum D k t k t L T k t k D K == ditto KHLAS [easy, 3 count] 1-+-2-+-3-+D - D - T T == also see Darj in Base-4 D - D - k k == me QUDDAAM / QODDAM [easy-medium, 3 or 6 count, Andalusian] 1-+-2-+-3-+-4-+-5-+-6-+D tkt t D t D - k t k D - t == [medium, syncopated] SAMAI DARIJ [easy-medium, 3 or 6 count] 1-+-2-+-3-+-4-+-5-+-6-+D tkT d T == also see Darj D - T - K == Jas: basic; [easy] also: [medium] 1-+-2-+-3-+-4-+-5-+-6-+D - tktk- Dk- tk- - - == Jas, Nott ** In the variation above, notice that the Ka hits are NOT on the half-count. This makes for a "choppier" sound. also: [medium, from Nott] 1-+-2-+-3-+-4-+-5-+-6-+D TkT D T == verse 1 of 3 D T T D T == verse 2 of 3 D r T DkT == verse 3 of 3 SUFI, MOROCCAN [medium-tough, syncopated] 1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+D-k-k- D--k-- D-k-k- Dk-k-TSAMIKO [medium, 3 or 6 count, syncopated, Greek] 1-+-2-+-3-+-4-+-5-+-6-+D--kT-k-T-kZAR [easy-medium, 3 count, trance rhythm] 1-+-2-+-3-+D t k == one option of many - Dtt, Dtk, Dkt, Dtkt, Dktk ...
D tktk D tktk D tktk D D T D tktk D tktk D tktk D D D D tktk D tktk D tktk D T c
== Jas == see #1 below == see #2 below
** [1] This is a variation I used to call The Lion's Roar; get increasingly louder (crescendo) in the last measure. ** [2] This is a variation I used to call The Skipping Lion; it can be fun to mix up the beats at the end (D K T, D c c, c c c, c T D ...) For rhythms that can be done in even multiples of six counts, see the Base-6 page.

Updated: 16-JAN-03
This page has notation and difficulty ratings for hand drumming rhythms (mostly Middle Eastern) that can be done in four or eight counts. Part of Kamuran's Guide for Doumbek Players.
"ADNAN" [easy-medium, source unknown] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D - t - D D T == me: open D tktktkD D T tk al-thaqIl al-awwal [easy-medium, syncopated, Safi al-Din 13th c.] 1-+-2-+-3-+-4-+- -T- T - - T T == [easy] ** Both of these are "basis" versions. See Bibliography on Jas's site. Also see "First Thaqil" and the longer version on the Base-8 page. "ARABIC" [easy-medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D D tkT tktkT tk D D tkT tkD T tk BALADI / baladii / BELADI / BELEDI [easy-medium, Egyptian] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D D t t D t t == me: open D D - t D - T == Mas'ud: open (also see Falahi) D D tkt D tkT == Mas'ud: standard DkD tktkD tkT == Mas'ud: busy D D t k t D t k t t k == Nott D t k D D t k t t k t k == Nott: inverted (also see Guwazi/Gawazi) also: [medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D k D k t k t k D k t k T k t k == Mas'ud: closed D D k k G D k k G k k == Jas: really a particular "maqsum"
D D k P D k P == Jas: Egyptian D m T t k D D t M T t k == Jas: another Egyptian D k D k t k G k D k t k G k t k == Jas: walking D t K - t k D t k T t k == Steve #2 D D T K D T G t k == Steve #3 D G T G d k t k P t k == Steve #5 [medium-tough] D D r s T D r s T t k == Steve #6 D tK-tK D D P == Steve #8 BOLERO [easy-medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D - T - T T D T == me: open D - T - T K D K == me: open D tkt k t k d k == Daveed (also see Rhumba) D kkT k T k T d == me also: [medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D kkT kkTkTkD T == Nott, Jas D tkk T k T k D k == Jas (see below) ** In the 'tkk', the two Ka can be done with a roll of two fingers. COCEK (say Cho-Chek) [easy-medium, syncopated, Romany/Macedonian Gypsy] 1-+-2-+-3-+-4-+D - t T - t T k == count 3-3-2 (** you could also count 2-3-3) DARJ [medium] 1-+-2-+-3-+-4-+-D-D-TTfalaahii / FALAHI / falahin [easy-medium, upper/southern Egyptian] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D T - T D - T == Mas'ud: open; Jas: "Maqsum" D T tkT D tkT == "standard" (also see Baladi) also: [medium/medium-tough] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D g k g D k g k == Nott D G k G D G k G == Jas: simple D G k G D k G k == Jas: alternating D d k d D k d k == me (no Grabs) GHAWAZEE [easy-medium, upper/southern Egyptian] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+t t D t D D T == me: open tktkD tkD D T == Jas: "similar to Qaayim wa'nisf" GUWAZI / GAWAZI [easy-medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D - D D - - T == Mas'ud: "open Guwazi" D tkD D tkt T == Mas'ud: "standard Guwazi" D t k D D t k T t k t k == Daveed: "Gawazi" KARATCHI [easy-medium, Egyptian, modern?] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+T - T D T - T D == me: open
T k T D T t T D == ditto T kkT D TktkT D == Jas MALFOUF / MALFUF / SAUDI [easy-medium, Arabic/Egyptian, some syncopated] 1-+-2-+-3-+-4-+------------------------------------------------- ** count 3-3-2 D k k D k k D k == Nott: Saudi D k k D k k T K == Daveed D - - t - - t - == Nott ------------------------------------------------- ** count 2-3-3 1-+-2-+-3-+-4-+D - t k - k t - == Nott: delicate, spacey D - t K - k T - == Jas: spacey D - k D - k T k == Jas: "Saudi" ------------------------------------------------- ** count 2-2-2-2 1-+-2-+-3-+-4-+D - t K - - T - == ?? D - T - T - T D == Jas: Saudi, "Latin" style also: [medium] ---------------------------------- ** count 3-3-2 1-+-2-+-3-+-4-+D k k G k k G k == Nott/Jas D k k G k k D k == Jas D k k D k k G k == Jas: "Saudi", also called "Khaleegy"? MAQSOUM / MAQSUM / maqsuum / maqsoun [easy-medium, Egyptian] ** open: see Falahi 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D k - k D - k == Daveed D k - k D - t == Nott: "Gawazi" also: 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D T t k T D t k T t k == Jas: filled (also see Falahi) D T k k T D k k T k k == Nott D t k t D k T t k == Nott: walking D K t K D k T t k == Jas: walking D k T k D k T t k == me: walking D tkT K D k T == Numair Madhi
also: [medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D G k k G D k t k G k k == Jas: alternate D d K k d D k t k d k k == me (no Grabs) D D kkG D kkG == Nott ** Jas: Maqsum/Maqsoum means "broken in half" (also called Masmoudi Saghir). MASMOUDI / MASMOODI / MASMUDI [easy-medium] ----- ** The last half can be a separate rhythm! 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D tkt T tkt T D tktkT tktkD k == variation 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D D - T D - T T == Jas: "Masmoudi Kebir" MUKHAMMAS [easy-medium]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D - D - D - T - T - T T D - T T == count 4-2-2-6 NAWARI [medium, Syria, line dance] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+d D kkd D kkd == me: without grabs [easy-medium] G D kkG D kkG == Nott - k D - k k G D k k G k G == Jas: "Nawwari" [medium-tough] RHUMBA / rumbaa [medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D tkt K t K D k D tkT k T k D k == variation SAIDI / SAIIDI / sayyidii [medium, syncopated] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D - t k - k D - D - - - t k t - == Nott; (** also see Laz) D -t- D D t t == Jas #1: (open) D k t - k D D t k t t k == Jas #2: filled with bridge D kt- D D - c == Jas #3 also: 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D k G k k D D D k k G k k == Jas #5: 3 Doum D k t k D D k t k k == Jas #7: "Sadika's?" SAWT 8 [easy-medium, syncopated] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D - T T - D -TT SERTO / SIRTO [medium, Greek, syncopated] 1-+-2-+-3-+-4-+- 1-+-2-+-3-+-4-+D - k D - k t k D - k T - k t k == Jas, Mas'ud, Nott; (2-3-3) D - k D - k t k D - k T - k t k == me: verse 1 D - k D - k t k D k T k T - T - == me: verse 2 ** This sounds best to me at medium-slow speed; about 120 beats per minute or one time through in about 4 seconds. SOMBATI [medium, syncopated] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D--kTkT-D-kkT-tk WAHIDA / WAHIDAH - also Wahda, Wahdah 1-+-2-+-3-+-4-+D - - T - - T - == Also see the Base-2 page and "Malfouf" above. YAMANI [medium-tough, syncopated] 1-+-2-+-3-+-4-+- t - D - t m - == Jas: "accompanies end of Sawt poem" ZAFFA / EL ZAFFAH [easy-medium, modern?] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D trt K m K m == me T trt k d K D == me D tkt t D t D == Jas: "alternate version" D tkt t D t t == See Note below.
D D D t tktkt t
== Jas: from "Hossam Ramzy"
** Jas: "Egyptian wedding processional, candleabra dance" For rhythms that can be done in two or four counts, see the Base-2 page. For rhythms that can be done in even multiples of eight counts, see the Base-8 page.

Updated: 16-JAN-03
This page has notation and difficulty ratings for hand drumming rhythms (mostly Middle Eastern) that can be done in multiples of five counts. Part of Kamuran's Guide for Doumbek Players.
AQSAQ SAMAI [easy-medium, syncopated] 1-+-2-+-3-+-4-+-5-+D - T K - D - T - T == count 5-5; (** you could also count 2-3-2-3) CURCUNA (pronounced "JOOR-joo-nuh") [medium-tough, syncopated, Armenian] 1-+-2-+-3-+-4-+-5-+D - k T k D - T - k ** count 2-5-3 also: [medium] 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+D - - k t k t - - k t k D - K - D - K - == Daveed D ktk D k D k k T k D k D ktk D k T k k == Jas == Jas: quick version
DAVEED 15 [easy-medium, 15 count, modern?] 1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+-4-+-5-+-6-+D k k T k k T k k D k T k T k FARSEE 5 [medium-tough, modern?] 1-+-2-+-3-+-4-+-5-+- 1-+-2-+-3-+-4-+-5-+D - t k - k - D t - T - t k - k D - t - == Jas: Durr invention? FIFTEEN [medium, 15 count, syncopated] 1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+D - - K - - T - - k t t D - T NUBAR [medium-tough] 1-+-2-+-3-+-4-+-5-+- 1-+-2-+-3-+-4-+-5-+D k k T k k D k t k T k k D k t k D k k == unknown SAMAI [medium] 1-+-2-+-3-+-4-+- 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+D tkt t tktkD tkT T D - D - T T tktkt -
D tktkt D tkt k D - D -
tktkt tkt t T - T tkt k T tkt k t k
D - D - t t
tktkt t
== Nott == Daveed == Daveed
D - D - T tk t k t k D tkt k T - T tkt k
** Daveed says the last one above is "Wynnie's version". Apparently she likes the way it sounds with the first half played second! SAMAI THAQIL [medium, syncopated] 1-+-2-+-3-+-4-+-5-+- 1-+-2-+-3-+-4-+-5-+D - - T - D D T - == "basic" also: [medium-tough, syncopated] 1-+-2-+-3-+-4-+-5-+- 1-+-2-+-3-+-4-+-5-+D - t k t t - - t k t k G - t k t t - - == line 1 of 2 D - - - D - - - T t - - t k t k t - t k == line 2 of 2 ** Jas says the longer version is usually played slow. SHOUSH [medium] 1-+-2-+-3-+-4-+-5-+D tkk D T SLOW FIVE [medium] 1-+-2-+-3-+-4-+-5-+- 1-+-2-+-3-+-4-+-5-+D - k t - k t t D TURKISH 5 [easy-medium] 1-+-2-+-3-+-4-+-5-+D k t k t == Jas, Nott [medium] D - k T - k T K D - == Daveed: Slow D k T k T D k t k K D k T k K D k D k k D k k D k D k k T k == Daveed: Fast #2 [medium] == Daveed: Fast #4 == Daveed: Fast #5 == Daveed: Fast #6 == Daveed: Fast #7 == Daveed: Fast #8

Updated: 17-JAN-03
This page has notation and difficulty ratings for hand drumming rhythms (mostly Middle Eastern) that can be done in multiples of six counts. Part of Kamuran's Guide for Doumbek Players.
ANCESTRAL SPIRIT [medium, syncopated]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+D--TT-T D D T - D T T ** From a devotional song called "Spirit of the Ancestors" on the CD "Fire Dance" by Brian Keane and Omar Faruk Tekbilek. BASIIT [medium, Andalusian] 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+D k D tkT k t k D k t k CHAUCKA / CHAKA [medium, Daveed and Durr (1992)] 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+D tktkT tktk D tkT tkD K == Daveed D kkD kkDkkk D kkD kkD D == see below ** Nott: from Daveed [medium-tough] D tktkt tktk D tkt tkD t == Jas D tktkT tktk D tkT tkD T == Mas'ud; Nott: Durr MOROCCAN / SOUFI / "TRANCE" [medium, syncopated] 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+D - - K - k D - - - K - D - - K - K D - K - K - == Mas'ud: Soufi D - - k - k D - - - K - D - - k - k D - K - K - == Daveed D - d K - K D - d - K k D - d K - K D - K - K k == me MOROCCAN 6 [tough, 5 lines of 6 count] 1-+-2-+-3-+D k k G k k == line 1 of 5 D k k G k G == line 2 of 5 D k k G k D == line 3 of 5 D k D D D D == line 4 of 5 D k G k G k == line 5 of 5 MUDAWWAR [easy-medium, syncopated] 1-+-2-+-3-+-4-+-5-+-6-+D - T - D D D - - - T - == count 4-6-2 PERSIAN 6/8 [easy-medium] 1-+-2-+-3-+-4-+-5-+-6-+D tkt T t D rrT t t t 1-+-2--3-+-4-+-5-+-6-+D tttK D t K == D tkkT D t K == how I'd play the above myself SAMAH [medium-tough] 1-+-2-+-3-+-4-+-5-+-6-+D - T T D - - - D D T T == line 1 of 3 D - T - - - T - D D T T == line 2 of 3 D - T - - - T - D - - - == line 3 of 3 SAWT 12 [medium, syncopated] 1-+-2-+-3-+-4-+-5-+-6-+D - - - T - - D d - T - == "open" also: [medium] [tough - if you include part 2 and the delay]
1-+-2-+-3-+-4-+-5-+-6-+D k t k T k t D d k T k == "filled" (part 1, see below) ** Jas: full version has 2 parts, part 1 is filled as above; part 2 is the same, delayed by a 1/16 note! (if you're doing 12 count, that's a half-count). SERTO [medium, syncopated] 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+D--kD--kTk-- D--kT--ktk-SHA'BIA [special, from Jas] 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+T K T K D K T K T K T K == drum 1 (heart) G - D - K G - K D - - == drum 2 (lung) ** Heart = [easy-medium]; Lung = [medium] Jas: "This is a Moroccan polyrhythm, unusual in Middle Eastern music and hardly a polyrhythm by the standards of continental African rhythm." SHEESHTOSH [medium, Persian] 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+D - k t k - D - t - - - T - k t k - D - t - - - == Jas: "should swing" D - t k t - D - t - - - T - t k t - D - t - - - == me (T/K switch) SUDASI [easy-medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-+-4-+-5-+D tkt D D tkt D D - T ** Last strike could be a pop, roll, etc. for flair. Not all maqsums are base-4...! SUFI, MOROCCAN [tough] D k G k G k == line 1 of 5 D k k G k k == .. D k G k G k == .. D G k G k k == .. D k k G k D == line 5 of 5 WHIRLING DERVISH [tough] 1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+- 1-+-2-+-3-+D---d- D---d- D-tk-k DtktkYUGRIG [medium] 1-+-2-+-3-+-4-+-5-+-6-+D-tkT-tdT--** I'd consider playing the second Doum with the off-hand. For rhythms that can be done in three or six counts, see the Base-3 page.

You are here: Home > Drummer's guide > (here) Updated: 17-JAN-03
This page has notation and difficulty ratings for hand drumming rhythms (mostly Middle Eastern) that can be done in multiples of seven counts. Part of Kamuran's Guide for Doumbek Players.
DAWR HINDI [easy-medium, 17th century Persian?] 1-+-2-+-3-+-4-+-5-+-6-+-7-+D t k t D t k t t k == Nott D T T D - T == Jas: count 3-4 D T k T k D t k T t k == Jas: filled DEVRA HINDI [easy-medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+D - k D k T == Jas, Kesslari ** Jas says "medium - slow"; I think he means medium volume, slowly GREEK 7 [medium-tough] 1-+-2-+-3-+-4-+-5-+-6-+-7-+D k k D k D k D k t k T k T ** count 3-2-2-4-3 KALAMANTIANO [easy-medium, Greek] 1-+-2-+-3-+-4-+-5-+-6-+-7-+D ktk D k D k D ktk D k G k == [medium] LAAZ / LAZ [easy-medium, 7 count] 1-+-2-+-3-+-4-+-5-+-6-+-7-+D - D - D k t == me: open D k D k D k tk D k D k D ktk == Jas D k D k T - k == Kesslari also: [medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+D - t k - k D - t k t - t - == Nott: "Laaz"; (** also see Saidi) MUHAJJAR [medium-tough] 1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+D t k D t k D t k t k T t k t k D t k == part 1 t k T t k t k T t k t k T t k T t k == part 2; Jas, Nott D tkD tkD tkt k T tkt k D tk t k T tkt k T tkt k T tkT tk == both on one line also: [medium, from Jas] 1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+D D D - T - D - T - T - T T == count 4-2-2-6 ZENKOV [tough, Russian] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-+-4-+-5-+D - T - D - T - k D k D k T - k D - T - k ** Jas, Kesslari: 9-7-5 or 2-2-2-3-2-2-3-2-3

Updated: 22-JAN-03
This page has notation and difficulty ratings for hand drumming rhythms (mostly Middle Eastern) that can be done in even multiples of eight counts. Part of Kamuran's Guide for Doumbek Players.
"AFRICAN DANCE" [medium-tough, syncopated] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+kDDkkD-k-DDkk-D** It's easy for me to slip into playing this one as if the rhythm starts on the first Doum. al-thaqIl al-awwal [medium-tough, syncopated, Safi al-Din 13th c.] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+T t - T t - T t t - T - T t t - == count: 3-3-4-2-4 ** See the bibliography on Jas's site. Also see "First Thaqil" below and shorter versions on the Base-4 page. al-thaqIl al-thAnI [medium, syncopated, Safi al-Din 13th c.] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+T t - T t - T - T t - T T - T - == count: 3-3-2-3-3-2 "ARABIC" [medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D - tkt T tkD tk T tkD tkT T tkT Bolero variation: [medium, syncopated] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D - k - T - k - T - k - T - D == me D -tk t T -tk t T -tk t T - D == ditto D -tk tkT -tk tk T -tk tkT - D k == ditto D - t k t k T - t k t k T - t k t k T t k D t k == ditto ** Javaria and I came up with this to go with Miserlou, it's easier than it looks. BTAYHI [medium, Andalusian] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+T k T k D tkT k T k D k T k D k CHIFATELLI / CHIFFTATELLI / CHIFITITELLI / CHIFTETELLI / ciftitelli / shiftaatellii [medium, Greek/Turkish] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D - T T - D T - D - D - T - - == open D - t T - d T - D - D - T - - == Mas'ud: open D tkt T tkd T tk D tkD tkT - - == Mas'ud: standard
D D D D
tkt tkt tkt ktkt
T T T kT
tkd T tk D tkD D T - - == Mas'ud: alternate #1 tkdkT tk D tkDkDkT - - == Mas'ud: alternate #2 tkd T P P P P P - - == Mas'ud: alternate #3 ktkdkTktk DktkDktkT - - == Mas'ud: closed 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D T - - == Daveed T - -tk == me: a variation tkT t tkt == ditto
also: 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D tkt t TKD T TK D tkD D - r t tkd T tk D - D D tkT T tkD T tk D tkD
D tkt t tkD t - D - D - t - - == Jas #1 D tkt t tkD t tk D D tktkt == Jas #2 D tkt t tkD t t D - T K - K T - - t t k - t t k - t - - - k == Jas #3 [medium-tough] D - K k T - k k == Jas #4: "fast"
"DON'T TOUCH MY DESSERT" [medium, from Laylia White - a dancer from Columbus, Ohio] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D T - D D tkT - D tktkT tktkT ** The first half is Guwazi-like. The second half is pure Masmoudi (see below). FIRST THAQIL [easy-medium, syncopated, 13th century Arabic?] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D - - D - - D - - - D - D - - - ** count 3-3-4-2-4 D - k D - k D - T - D k D - T - == a variation MASMOUDI / MASMOODI / MASMUDI / maSmuudii [medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D - D - T - T - D - T T T - T == open D - D - tkt T - D tkt T tkt T == Mas'ud: Arabic D - D - tktkT - D tktkT tktkT == Mas'ud: Turkish D tkD tktktkT tk D tktkT tktkT == Mas'ud: busy D - D - D tkT - D tktkT tktkT == Mas'ud: 3 Doum DktkDktktktkTktk DktktkTktktkT == Mas'ud: closed also: 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D - D - D - t - D t k t k t t k t k t t k == Jas: "walking" D - D - tktkt k D tktkt tktkt k == Jas: "warring" D t k D - t k t k T k D t k T k t t k t k t T k == Jas: 3 beat syncopated D kkD - kktkT k D tK kT tK kT K == Jas: 3 beat variation D kkD kktktkt k D kktkt kktkt k == see comment below ** Jas says: perhaps (this is a) more traditional hand pattern also: 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D t k D t k T t k T t k D t k t k T t k t k T t k == Steve #1 D t k D S - S - t k D t k t k T t k t k T t k == Steve #3 D - k T - k t k D - k T - k t k == Steve #8
** Also see Masmoudi and Masmoudi Kebir in Base-4. QAAYIM WA'NISF [medium, Andalusian] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+T k T k D tkT k t k D k D k t SUFI, PAKISTANI
[medium, 8 count, syncopated] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D - - D - - D - D - t k t - t k == "moderate speed" SWORD DANCE [tough] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D - D - t k - k D - t - t k t k == part 1 D - D - r k - k D - tktkk t - k == part 2; Nott D - D - r k - k D - tktkt k t k == Steve [medium-tough]
TAXIM / TAQSIM [tough, syncopated] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D-----tk-T---tT- D - D - P - - == Steve #1 D---tk-T--t-T--- D k D k P - - == Steve #2 D---tk-t-tk-t--- D k D k T tkt k == Steve #3 also: 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D---tk-t-tk-t--- tkT tkT tkP - == Steve #4 D---r-S--tk-T--- r - r - s - - == Steve #5 D - r S - r S - ttT ttT ttT - == Steve #6 [medium-tough] THOMAS'S ADDITION [medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D tkT - D tktkT D tktkT D D T ** From a drummer named Thomas who brought it from parts West. As you can see, it has elements of Chifititelli and Masmoudi, so we came up with nicknames like Chifti-moudi, Mastitelli, and 'Mood Shift'. Thomas was at the informal jam sessions that would in only a few months evolve into a band called Peach Curry. (Kamuran is the lead drummer for said band.) WAHIDAH 4 - also called Bambi [medium, syncopated, Arabic?] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+D - t k - k t - t k - k t - k - == Nott D - T K - K T - T K - K T - K - == Jas: usually played fast D D D T K - K T - T K - K == Jas: variation "337355" - I learned it without a name [medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+tkD tkD tktktkD tkD tktkD tktkD t D t k D t k t t D t k D t k t D t t k D == one variation ** Count 3,3,7 then 3,5,5 ** Could also mix 'em: 3-7-3, 5-3-5 (and so on - Kamuran likes doing this). ** Could also count 2-2-4, 2-3-3 For shorter rhythms that can be counted in 4 or 8, see the Base-4 page.

Notation key
Updated: 17-JAN-03
Buying a riq Accompanying dancers
This page has notation and difficulty ratings for hand drumming rhythms (mostly Middle Eastern) that can be done in multiples of nine counts. Part of Kamuran's Guide for Doumbek Players.
AKSUK [easy-medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+D t k T t k D t k T K K == also see Karsilama below AQSAQ (A'RAJ) [easy-medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+D - T K D - T - T ** Jas says count 4-2-3, I prefer 2-4-3 KARSILAMA / KARSILAMAS / KARSHLAMA / KASHLIMAH / KAHSLIMAH [easy-medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+D - T - D - T T T == Mas'ud: open D - T - D - T K K == Daveed: open variation D tkT tkD tkT T T == Mas'ud: standard ** Kesslari has a sound clip for this one (above) D D D - T - T - T D D D T - T - T == Mas'ud: reverse == another reverse
also: 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+D tkD tkT tktkT T == Jas #5: Gypsy style/variation also: 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+D - tkT tkD T T T == Steve #2 D - P - tkD P P P == Steve #4 [medium] D tkT tkD tkD r S T tkD tkT tkT D T == Steve #6 [medium] == Steve #7
** Jas: Karsilama means "face to face" in Turkish ZABEC [easy-medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+D ttD t D ttD t t == "Ayube variant" also: [medium, 18 count] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+D d tkt d tkt - D D tkt D tkt - t ** "Maqsum variant". Sounds like two Baladi with a Tek chaser, doesn't it? ZEIBEKIKO / ZEMBEKIKO / ZEYBEK [medium, Greek] 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+-9-+D t - t D t - - D t - t D t - - t == open D t t k t k D t k t t k D t t k t k D t k t - t t k == "filled" D - t t D - t - D - t t D - t - t == "variant" For rhythms that can be counted in even multiples of six beats, see the Base-6 page.
11/13/19-count hand drumming rhythms

Updated: 2-APR-03
This page has notation and difficulty ratings for hand drumming rhythms (mostly Middle Eastern) with certain prime numbers of counts: 11, 13, and 19. Part of Kamuran's Guide for Doumbek Players.
AL'AWIS [easy-medium, 11 count] 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+T D - T D - T T D D == Jas: count 3-3-5 AWFAR [medium-tough, 19 count, 17th century Persian?, from Jas] 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+D - D - - - T - T - D - D T - T - - ** Jas: count 6-4-2-7 KOPANITSA [easy-medium, 11 count, Bulgarian, from Kesslari and Jas] 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+D k D k T - k D k T MURABA [medium-tough, 13 count, from Jas] 1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-+-4-+-5-+-6-+-7-+D - T tkt k D tkt k t k t k == filled (part 1) T t k t k T t k t k D t k t k ============ filled (part 2) D T tkt k D tkt k t k t k T tkt k T tkt k D tkt k == both on one line also: [medium] 1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-+-4-+-5-+-6-+D T K D - T - T - T T D MURASSA SHAMI [medium-tough, 19 count] 1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-+-4-+-5-+-6-+- 1-+-2-+-3-+-4-+-5-+-6-+D - T T D D T D - T K D - T - T - T T ** Jas: count 4-5-4-6 NEDA VODA [medium, 11 count, from Jas: modern? Macedonian porch song] 1-+-2-+-3-+-4-+-5-+-6-+-7-+- 1-+-2-+-3-+-4-+D tkt tkD tkt tkD D ZARAFAT [medium-hard, 13 count]
1-+-2-+-3-+-4-+-5-+-6-+-7-+-8-+- 1-+-2-+-3-+-4-+-5-+D - - T - - D - D D T - - == Jas D k k T k k D k D D M k k == from Mr Quentin Shaw on GDG ** ** Quentin refers to this as "Sumi Zharaphat" and says it's of Babylonian/Iraqi origin He makes and sells unique metal hand drums. (The page has excellent pictures of his work.) Let him know Kamuran sent you... (grin)

El Djembé Es Un Instrumento de Percusión Africano

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El Djembé Es Un Instrumento de Percusión Africano

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El djemb es un instrumento de percusin africano, muy popular en pases como Senegal, Costa de Marfil, Guinea, Mal o Burkina.

5b. DUUM DI KI DI DA KA 0 5c. DUUM DI KI DI DA KA 0 DA KA DI DA KA DUM | DUUM DI KI DI DA KA 0 DA KA DI DA KA DUM

1e+a2e+a D tkd t D kkd G 1e+a2e+a D kkT D 1e+a2e+a DgkgDkgk

2/4 2/4 2/4 2/4

1e+a2e+a Wahida Sayrah D t t

4/4 4/4 4/4 4/4

1234 ChaChaCha Zaffah Bolero Maqsum

just for fun! wedding processional

4/4 sword dance 4 5/4 4/4 Farsee 5

1e+a2e+a3e+a4e+a Wahidah 4 D tk kt tk kt k 1+2+3+4+5+ D kt kttD

5/4 Slow Five

7/8 7/8 7/8 8/4 8/4 8/8

10/4 13/4 14/4

123456789ABCDEF 123123123123123 Daveed 15 DkkTkkTkkDkTkTk

Q: What's in a name? ( A note on naming conventions )

Q: What is this "D t k" stuff? ( Notation )

Q: What difference does a "rest" make anyway?

Q: Where did all of this tradition come from? ( A Grossly Over-simplified

Q: So I want to learn some rhythms. Where do we start?

"walking" maqsuum 4/4

zaffah 4/4 (or 8/4)

waaHida saghiira 4/4

dawr hindii/"Andalus" 7/8

tsamiko 6/8 or 3/4

sha'bia 6/8x2 and 12/8

1 2 3 4+ 5 6 7 8+ 9 10 Here are a few more:

sedi donka 25/16=7+7+11

triti puti 2/4

neda voda 11/8

das'a kabIr 11/8

see: mudawwar al-Hawzii(Algeria/Tunisia) `allaawii(algeria) (2/4)

`araj al-batii' (3/4)

`araj at-turkii (5/8)

[' Turkish late 19th c.']

`arda al-awwal(kuwait) (3/4)

`arda ath-thaanii(kuwait) (6/8)

`arwaasii ath-thaanii(libya) (8/16)

`arwasii al-awwal(libya) (4/8)

`athamaanii al-awwal(libya) (3/8)

`athamaanii ath-thaanii(libya) (6/8)

["Touma's version : rotated from others I've seen"]

a`araj al-kabiir (18/8=3+3+2+2+4+4)

a`araj samaa`ii (3/4)

aaghr aqsaaq samaa`ii (20/8=10+10)

D-______T-__k-______D-__D-__T-______T-__,[MIDI] D-______T-__k-______D-______T-______T-__,[MIDI] Touma: without 3rd DUM D-______t-__S-______D-__D-__S-______t-__,[MIDI]

afr mawlawii (9/4=4+2+3)

aghr aqsaaq turkii (5/4=4+1?)

aghr aqsaq (9/4=4+2+3)

aghr dawr hindii (7/4)

al fezzaanii ath-thaalath(libya/tunisia) (8/16=4+4)

al foks al-`arabii (2/8)

al masa al-habiib(kuwait) (16/4=2+2+2+2+2+4+2)

antikrysto zeymbekiko(greek - smyrni) (9/8=2+3+2+2)

aptaliko zeymbekiko(greek - attalia asia minor) (9/8=3+6)

aqsaaq al-ifraanjii (9/8=4+2+3)

aqsaaq araj (9/8)

aqsaaq at-turkii (5/4)

aqsaaq samaa`ii ath-thaqiil (20/8=10+10)

arb`a w' al-`ashriin halbii (24/4)

D-T-|D-T-|D-DDT-|D-T-T-|D-T-T-|D-T-T-|D-T-T-T-|D-__T-T-,[MIDI],=2+2+3+3+3+3+4+4, format note: divided by 2 D-T-D-T-|D-D-DTD-|T-T-D-T-|T-D-T-T-|D-T-T-T-|D-__T-T-,[MIDI],=4+4+4+4+4+4, format note: divided by 2

arb`a wal-`ishruun (48/4) arwal (2/4)

D___|D_D_|T_D_|T_D_|T_T_|D_T_|D_T_|D___|D_DD|T___|T_T_|D___,[MIDI],=4+4+4+4+4+4+4+4+4+4+4+4, format note: divided by 4

see: awfar al-maSrii awfar al-masrii (19/4=6+4+2+7=2+2+2+2+2+2+3+4)

D-T-k-D-D-T-T-,[MIDI] D-T-k-D-T-T-,[MIDI] Touma: without 3rd DUM D-t-S-D-D-S-t-,[MIDI]

D-T-|D-T-|D-DDT-|D-T-T-|D-T-T-|D-T-T-|D-T-T-T-|D-T-T-,[MIDI],=2+2+3+3+3+3+4+4, format note: divided by 2 D-T-D-T-|D-D-DTD-|T-T-D-T-|T-D-T-T-|D-T-T-T-|D-T-T-,[MIDI],=4+4+4+4+4+4, format note: divided by 2

D-|D-T-|D-T-TkD-|T-T-|T-|D-D-|T-S-|T-k-T-k-,[MIDI],=2+4+4+4+2+4+4+4, format note: divided by 2 D-|D-T-|D-TTTk|T-__|T-|D-|T-S-|T-k-T-k-,[MIDI],=2+4+4+4+4+2+4+4, format note: divided by 2

D-T-T-D-D-D-T-T-D-,[MIDI], format note: divided by 2

D-T-|D-DDT-|T-|T-T-|D-T-T-|D-T-|T-T-,[MIDI],=2+4+2+2+4+4+2, format note: divided by 2 D-|D-D-|T-T-|D-|T-T-__,[MIDI] Egypt,=4+4+4+4+4, format note: divided by 2

T-D-T-T-D-,[MIDI] 4+3+3+2 T-T-D-T-T-D-,[MIDI] 3+4+3+2 T-T-D-D-T-T-D-,[MIDI] 3+4+3+2 D-T-D-T-T-D-,[MIDI] 4+3+3+2

D-|T-|T-|D-D-|T-T-k-,[MIDI],=2+4+2+4+4, format note: divided by 2 D-|T-T-|D-T-T-|D-T-|D-DDT-|D-T-k-,[MIDI],=2+2+4+2+3+3, format note: divided by 2

D-T-T-|D-T-T-|D-T-T-|D-T-T-|D-__T-T-|D-DDT-T-|D-T-T-|D-T-|D-T-T-,[MIDI],=4+4+4+4+4+4+3+2+3, format note: divided by 2